Variations (10) on "Unser dummer Pöbel meint," for piano in G major, K. 455
South African-British historical keyboardist Kristian Bezuidenhout has emerged from accompanimental roles into solo concertizing and major-label recording, making quite a splash. The immediate attraction is his tone. Through frequent and varied use of the una corda pedal (the "soft pedal" of the modern piano), he coaxes a large range of dynamics and timbres out of his instrument, a modern copy of a 1795 Viennese Walter fortepiano. It may be easier with Bezuidenhout than with any of his peers to forget that you're listening ...
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South African-British historical keyboardist Kristian Bezuidenhout has emerged from accompanimental roles into solo concertizing and major-label recording, making quite a splash. The immediate attraction is his tone. Through frequent and varied use of the una corda pedal (the "soft pedal" of the modern piano), he coaxes a large range of dynamics and timbres out of his instrument, a modern copy of a 1795 Viennese Walter fortepiano. It may be easier with Bezuidenhout than with any of his peers to forget that you're listening to a historical instrument. And in this very nicely recorded selection of Mozart sonatas and other pieces, he often matches the instrument to the music in an admirably thorough way. The high point is the big Piano Sonata in F major, K. 533, an incomplete work joined as is usually done with the Rondo in F major, K. 494, to make a three-movement sonata. Bezuidenhout effectively draws out the contrasts in the first movement of this complex work, modulating the tone of his piano as the...
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