Mozart \u2013 <\/strong>Fantasia in C minor, KV 396\/385f<\/em>; Sonata in C main, KV 330\/300h<\/em>; Fantasia in D minor, KV 397\/385g<\/em>; Sonata in A significant, KV 331\/300i<\/em><\/p>\n Angela Hewitt returned to Spotlight Chamber Concerts and St John\u2019s Waterloo with a superbly ready and carried out all-Mozart recital (to coincide along with her new collection for Hyperion). A fantasia was adopted by a sonata twice over \u2014 however not essentially the fantasia or sonata one might need anticipated.<\/p>\n The C minor Fantasia, KV 396\/385f<\/em>, has been relatively overshadowed by Mozart\u2019s later fantasia in the identical key. There are good causes for this, amongst them the sooner work\u2019s unfinished standing, although we will in all probability by no means know fairly how a lot Maximilian Stadler\u2019s completion owes to Mozart, and the truth that it was conceived as a motion for violin and piano. It works very nicely as we heard it right here, although \u2014 and positively did below Hewitt\u2019s fingers. Her opening (and Mozart\u2019s) supplied a positive sense of \u2018preluding\u2019 extemporisation, even tending slightly in the direction of the Gothic-to-come (which naturally had roots in what had already come). This was music \u2018in search of\u2026\u2019 and finally it discovered what it wanted, coalescing strongly across the relative main, E-flat, on the shut of the exposition. The Sturm und Drang<\/em> of the event might need come from one of many piano concertos. Above all, this was a wealthy, spacious efficiency that was but vigorous.<\/p>\n The C main Sonata, KV 330\/300h<\/em>, obtained an in depth, full of life efficiency. The opening of the primary motion, and far else in it, can readily sound fussy, however not right here. Hewitt\u2019s shading of dynamics and articulation trod that tightrope with safety and conviction. There had been just a few occasions after I puzzled whether or not larger dynamic distinction might need been so as, not least within the improvement, however that’s extra a matter of style than anything. Taking the second repeat emphasised the seriousness of Hewitt\u2019s method; it’s troublesome to think about anybody desirous to have completed with out in context. The Andante cantabile<\/em> was superbly sung, at a well-chosen tempo. It went deeper than its predecessor, which might be proper. Hewitt voiced a correctly Mozartian unhappiness for the central F minor episode. I often missed the larger flexibility some pianists might need introduced right here, however that was not her approach, which had an simple integrity of its personal. That relative straightforwardness definitely paid off yet one more within the finale: once more, not a touch of fussiness, although there’s a lot occurring. Hewitt traced a considered path of element with out pedantry. She additionally conveyed suggestively and engagingly Mozart\u2019s implied contrasts of solo<\/em> and tutti<\/em>.<\/p>\n The D minor Fantasia benefited from a darkish, wealthy opening, Hewitt\u2019s efficiency imbued with nice dramatic immediacy right here and all through. The pianist used silences and phrase endings with nice intelligence, simply as a lot because the notes \u2018themselves\u2019. The quick D main concluding part (virtually definitely Stadler) gave the robust impression of originating in what had gone earlier than.<\/p>\n To observe it with the A significant Sonata, KV 331\/300i<\/em>, was a shock well-conceived and executed. Its first motion, the well-known theme and variations, additionally proved finely detailed: stuffed with variation even earlier than the variations themselves. Once extra, Hewitt used the piano to recommend an orchestra past it, while remaining true to her (and Mozart\u2019s) instrument. This was undoubtedly Mozart, not Mozart-straining-to-be-Reger. Each variation possessed its personal character, but shaped a part of an intelligently deliberate larger sequence. One felt (in addition to noticed and heard) the sheer delight of crossing palms. Hewitt, furthermore, supplied some gentle, fashionable ornamentation of her personal. The second motion emerged in related spirit: a minuet for piano, not a minuet that occurred to be performed on piano. Likewise, its mellow, euphonious trio, at occasions however a stone\u2019s throw from Schubert, but at others distant certainly: at all times in Mozart\u2019s spirit. The \u2018Turkish Rondo\u2019 appeared in flip to reply to what had preceded it, which is much from at all times the case. Its \u2018Janissary\u2019 fashion was relished, however as means to a musical, rondo-finale finish relatively than an finish in itself. It was charming, enjoyable, and at occasions not slightly whimsical.<\/p>\n As an encore, we had been handled to the gradual motion of the A minor Sonata, KV 310\/300d<\/em>. A direct but equally detailed efficiency included a markedly turbulent central part. Always, the music flowed.<\/p>\n Mark Berry<\/em><\/strong><\/p>\n<\/p><\/div>\n [ad_2]<\/p>\n","protected":false},"excerpt":{"rendered":" [ad_1] United Kingdom Mozart: Angela Hewitt (piano). St John\u2019s Waterloo, London, 3.12.2022 (MB) Angela Hewitt \u00a9 Matthew Johnson Mozart \u2013 Fantasia in C minor, KV 396\/385f; Sonata in C main, KV 330\/300h; Fantasia in D minor, KV 397\/385g; Sonata in A significant, KV 331\/300i Angela Hewitt returned to Spotlight Chamber Concerts and St John\u2019s Waterloo […]<\/p>\n","protected":false},"author":1,"featured_media":28910,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35],"tags":[],"class_list":{"0":"post-28908","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-theatre"},"_links":{"self":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/28908","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/comments?post=28908"}],"version-history":[{"count":0,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/28908\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media\/28910"}],"wp:attachment":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media?parent=28908"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/categories?post=28908"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/tags?post=28908"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"United](\"https:\/\/seenandheard-international.com\/wp-content\/plugins\/world-flags\/images\/flags\/24\/gb.png\" "\\"United")
United Kingdom<\/span><\/span><\/span> Mozart: <\/span><\/strong>Angela Hewitt (piano). St John\u2019s Waterloo, London, 3.12.2022 (MB)<\/p>\n![\"\"](\"https:\/\/seenandheard-international.com\/wp-content\/uploads\/2022\/12\/mwKn_TRs-scaled-e1670177902435-500x333.jpeg\")