Wolfgang Amadeus Mozart Sonatas KV 330, 332 and 333 Rondos KV 485 and 511 Evgeni Koroliov, Piano
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The Koroliov Series Vol. XVIII Wolfgang Amadeus Mozart Sonatas KV 330, 332 and 333 Rondos KV 485 and 511 Evgeni Koroliov, piano TACET_T226_Seite_16 TACET_T226_Seite_01 In “Clavierland” and to work with the best musicians of his which also heavily influences Mozart’s Sing- the manuscript and the first edition of the time. Vienna was important for him not spiel Die Entführung aus dem Serail. (This work shows how this sonata was so finely- Mozart’s parting from Salzburg was brusque least because it was “Clavierland”, teeming sonata appears on another CD recorded honed by Mozart. He altered his original and painful. As the head of domestic staff with excellent pianists with whom Mozart earlier by Evgeni Koroliov.) The sonatas manuscript significantly in several places for for Hieronymus von Colloredo, the Arch- could compare himself, but above all there KV 330 and 332, which can be heard on the printed version and made the musical bishop of Salzburg, Karl Joseph Graf von was an abundance of grand ladies who this CD, appear at first glance to be more material more lively and colourful, but also Arco was responsible for the discipline of wanted to take lessons from him and who conventional than their A-major partner more technically demanding. The swirling his subjects, and was sick of the constant generously rewarded him. work, with its sequence of theme and vari- sixteenths figure, which opens the finale, clashes with the ambitious and somewhat The piano sonatas that Mozart com- ations, minuet and rondo. Here, two fast makes it clear immediately that this is the obsequious young court musician Wolfgang posed in his Vienna years are, like the outer movements frame a slow movement. start of a virtuosic dance-finale. The B flat Amadeus Mozart. He dismissed him with a two rondos KV 485 and KV 511, among However, this is just the framework that Sonata KV 333 was written in 1783 in Linz “kick up the arse”, as the ousted Mozart the works created on the fertile ground Mozart then fills out in very different ways and was published by Mozart in the same reported in a letter home. Leopold Mozart of Vienna’s “Clavierland”. Piano recitals in between the two sonatas. year as the sonatas KV 330–332. It appeared was anything but enthusiastic about this major concert halls in front of several hun- The outer movements of the C major alongside a beautiful sonata composed in news, as his son was now without a perma- dred listeners, which are common today, Sonata KV 330 are playfully elegant with 1775 and another sonata for violin, also nent job and would have to make his own did not exist in Mozart’s time. Mozart’s moderate technical demands. The middle in B flat major. Compared to KV 332 the way in the world. sonatas were not originally intended for section of the cantabile slow movement demands on the performer are extended The spectacular expulsion occurred dur- the big stage, but for music-making in an in F minor offers a significant contrast to once again on every level. Towards the end, ing an extended visit to Vienna by the Arch- intimate domestic setting. They are musi- the joy that characterises the work to a Mozart even seems to lead the sonata from bishop. Alongside his official obligations, cal monologues for cultured players and, large extent. The dimensions of the F major the intimacy of domestic music-making into Mozart had ample opportunity to study the above all, for female players. Music, in the Sonata KV 332 are greater, richer in con- the public arena of a large-scale concert: the Imperial City and its musicians as well as the words of a contemporary, that is capable trast and more virtuosic. In the first move- finale is set out like a concerto rondo move- Viennese public. Several weeks before his of “describing feelings without words”. ment the expansive first theme is followed ment – a concerto without orchestra, but final “kick up the backside”, Mozart assured For performers in Mozart’s time, works of by a kind of song of farewell, already sug- with a concerto-like solo cadenza. his father “that this is a wonderful place – this kind offered a form of quiet pleasure gestive of Papageno’s music in The Magic Contemporary with the great piano con- and for my profession it’s the best place in that they undoubtedly enjoyed sharing with Flute. This is connected by a transition full certos in A major K. 488 and C minor K. the world”. This was not just empty rhetoric anyone who happened to be present. of dramatic accents that leads into a sec- 491, Mozart composed a piano piece in to soothe Mozart’s father, who constantly Mozart’s piano sonatas KV 330–332 ond theme, whose opening sounds like a January 1786 that has no generic name in worried about his son, but an accurate char- were published in 1784 by the Viennese pre-echo of Verdi’s famous “La donna è his manuscript. It was later described as acterisation of the musical city of Vienna. firm Artaria with the title “Trois Sonates mobile”. It is followed by another dramati- “Rondo in D major”, although it is much Mozart had the opportunity here to bring pour le Clavecin ou piano”. The middle one cally crafted transition, which leads to a more like a sonata movement: the first part his extraordinary talent to fruition in a way of these works is in A major. Its finale, the third theme. As in many of Mozart’s works, is repeated, there is a modulating devel- that was denied him in Salzburg: in Vienna famous “Rondo alla turca”, pays homage to the prevailing beauty lies here in the abun- opment section and finally a reprise. But he was able to write operas, give concerts the Turkish style fashionable at that time, dance of themes. A comparison between instead of the thematic abundance that is 2 3 TACET_T226_Seite_02 TACET_T226_Seite_03 In “Clavierland” and to work with the best musicians of his which also heavily influences Mozart’s Sing- the manuscript and the first edition of the time. Vienna was important for him not spiel Die Entführung aus dem Serail. (This work shows how this sonata was so finely- Mozart’s parting from Salzburg was brusque least because it was “Clavierland”, teeming sonata appears on another CD recorded honed by Mozart. He altered his original and painful. As the head of domestic staff with excellent pianists with whom Mozart earlier by Evgeni Koroliov.) The sonatas manuscript significantly in several places for for Hieronymus von Colloredo, the Arch- could compare himself, but above all there KV 330 and 332, which can be heard on the printed version and made the musical bishop of Salzburg, Karl Joseph Graf von was an abundance of grand ladies who this CD, appear at first glance to be more material more lively and colourful, but also Arco was responsible for the discipline of wanted to take lessons from him and who conventional than their A-major partner more technically demanding. The swirling his subjects, and was sick of the constant generously rewarded him. work, with its sequence of theme and vari- sixteenths figure, which opens the finale, clashes with the ambitious and somewhat The piano sonatas that Mozart com- ations, minuet and rondo. Here, two fast makes it clear immediately that this is the obsequious young court musician Wolfgang posed in his Vienna years are, like the outer movements frame a slow movement. start of a virtuosic dance-finale. The B flat Amadeus Mozart. He dismissed him with a two rondos KV 485 and KV 511, among However, this is just the framework that Sonata KV 333 was written in 1783 in Linz “kick up the arse”, as the ousted Mozart the works created on the fertile ground Mozart then fills out in very different ways and was published by Mozart in the same reported in a letter home. Leopold Mozart of Vienna’s “Clavierland”. Piano recitals in between the two sonatas. year as the sonatas KV 330–332. It appeared was anything but enthusiastic about this major concert halls in front of several hun- The outer movements of the C major alongside a beautiful sonata composed in news, as his son was now without a perma- dred listeners, which are common today, Sonata KV 330 are playfully elegant with 1775 and another sonata for violin, also nent job and would have to make his own did not exist in Mozart’s time. Mozart’s moderate technical demands. The middle in B flat major. Compared to KV 332 the way in the world. sonatas were not originally intended for section of the cantabile slow movement demands on the performer are extended The spectacular expulsion occurred dur- the big stage, but for music-making in an in F minor offers a significant contrast to once again on every level. Towards the end, ing an extended visit to Vienna by the Arch- intimate domestic setting. They are musi- the joy that characterises the work to a Mozart even seems to lead the sonata from bishop. Alongside his official obligations, cal monologues for cultured players and, large extent. The dimensions of the F major the intimacy of domestic music-making into Mozart had ample opportunity to study the above all, for female players. Music, in the Sonata KV 332 are greater, richer in con- the public arena of a large-scale concert: the Imperial City and its musicians as well as the words of a contemporary, that is capable trast and more virtuosic.