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Elisabeth Leonskaja, Sviatoslav Richter - Mozart, Grieg: Piano Sonatas (1996)
[Imagen: losslessdl_1906201576653986_front.jpg]

Artist: Elisabeth Leonskaja, Sviatoslav Richter
Title: Mozart, Grieg: Piano Sonatas
Year Of Release: 1996
Label: Teldec
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 01:02:10
Total Size: 228 Mb

01. iano Sonata No. 15 in C major (-Sonata semplice-) K. 545- Allegro [0:04:58.20]
02. Piano Sonata No. 15 in C major (-Sonata semplice-) K. 545- Andante [0:07:50.20]
03. Piano Sonata No. 15 in C major (-Sonata semplice-) K. 545- Rondo, Allegretto [0:01:49.10]
04. Fantasia for piano in C minor, K. 475- Adagio [0:14:58.72]
05. Piano Sonata in F major, K. 533-494- Allegro [0:11:39.03]
06. Piano Sonata in F major, K. 533-494- Andante [0:14:45.07]
07. Piano Sonata in F major, K. 533-494- Rondo, Allegretto [0:06:10.18]
Elisabeth Leonskaja - piano
Sviatoslav Richter - piano
Cita:In 1877 Edvard Grieg informed his publisher that he had added "a free, second piano to several of Mozart's sonatas." As he later emphasised, his modernization "did not change a single one of Mozart's notes", but constituted "a way of showing admiration for an old master." Grieg also intended the pieces for a duo of student at teacher; here the performers are a pianist of exceptional distinction and her legendary mentor: Elisabeth Leonskaja and Sviatoslav Richter.
Now this really is something to tickle the fancy of transcription-fanciers. When Grieg added an accompaniment for a second piano to Mozart's keyboard sonatas, he did it primarily with teaching in mind. It was apparently common practice in the 1880s for teachers to accompany their pupils on a second piano (my own teacher was still perpetuating the custom 80 years on). But the resulting compositions soon found their way into the concert-hall where, according to Grieg, "the whole thing sounded surprisingly good".
And so it does today. In trying to "impart to several of Mozart's sonatas a tonal effect appealing to our modern ears" Grieg left a telling little document or two on just what those late nineteenth-century Norwegian ears expected. If the C major 'Sonata facile' seems to sit even more sedately in the drawing-room, then it soon becomes clear that the light glinting through its windows is not a million miles away from that bouncing off the fjord waters which lap around Troldhaugen.
The C minor Fantasia becomes a dark salon melodrama (shades of Bergljot) which moves from conversation with not a little chromatic prevarication to the hanging of whimsical icicles of figuration around the major-key section. Gently exuberant harmonies cross-weave their way through the sparse trio-sonata-like textures of the opening F major before a trotting bass makes a high-stepping mountain horse of the rondo-finale.
These are Mozart-Kugeln with a bonne bouche or two of the finest Gravadlax on the side. And if these fond tributes are good enough for Elisabeth Leonskaja and Sviatoslav Richter, who could resist tasting them?
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