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MOZART / MAO FUJITA II

Complete Piano Sonatas
In his ambitious foray into playing the complete Mozart Sonatas at the Festival, Mao Fujita expels his extraordinary technique and virtuosity in the second instalment of this project.
Programme

WOLFGANG AMADEUS MOZART
Piano Sonata No. 7 in C major K. 309
Piano Sonata No. 13 in B-flat major K. 333
Piano Sonata No. 1 in C major K. 279
Piano Sonata No. 12 in F major K. 332

Mozart’s K. 309 was penned for Rosina Cannabich, whom he taught during his 1777 stay in Mannheim, and its central Andante perfectly matches his description of her as a “sensible and level-headed” character whose words were “pleasing and sympathetic”. K. 333 of 1783 then conjures up the stage, for instance via its aria-like central Andante Cantabile, and a concerto-reminiscent finale complete with cadenza. Haydn-esque K. 279 of 1774, the first of Mozart’s earliest surviving sonatas, was performed on the same tour that brought him to Mannheim. Then it’s back to the operatic stage for K. 332, with its constant flips between major and minor: a dramatic opening Allegro abounding in contrasts, an achingly tender Adagio whose major-key theme is instantly and captivatingly repeated in the minor, and an exuberant finale that ends in sudden delicate repose.

Media
MOZART Piano Sonata No. 7 in C major K. 309 | Anna Vinnitskaya (Église de Verbier, 2007)
MOZART Piano Sonata No. 13 in B-flat major K. 333 | Lang Lang (Salle Médran, 2007)
MOZART Piano Sonata No. 12 in F major K. 332 | Do-Hyun Kim (Église de Verbier, 2018)