Richard Fuller, Fortepiano | Mozart Klavierwerke 3

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Classical: Traditional Classical: Mozart Moods: Featuring Piano
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Mozart Klavierwerke 3

by Richard Fuller, Fortepiano

A continuation of the Mozart cycle on a fortepiano after Anton Walther (1795) with his third release for Palatine Recordings; graceful articulation and dazzling pianism offer new dimensions to Mozart's keyboard works.
Genre: Classical: Traditional
Release Date: 

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  Song Share Time Download
clip
1. Sonata A major, KV 331, Andante grazioso
13:53 $0.99
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2. Sonata A major, KV 331, Menuetto
6:03 $0.99
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3. Sonata A major, KV 331, Alla Turca: Allegretto
3:44 $0.99
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4. Rondo A minor, KV 511
9:31 $0.99
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5. Sonata B-flat major, KV 333, Allegro
7:40 $0.99
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6. Sonata B-flat major, KV 333, Andante cantabile
7:07 $0.99
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7. Sonata B-flat major, KV 333, Rondo: Allegretto grazioso
6:52 $0.99
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8. Sonata D major, KV 311, Allegro con spirito
4:43 $0.99
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9. Sonata D major, KV 311, Andante con espressione
5:01 $0.99
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10. Sonata D major, KV 311, Rondeau: Allegro
6:32 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
"One of the most remarkable qualities of Fuller's playing is his range of tonality. He demonstrates that while the dynamic range of the modern piano is greater, the 18th-century fortepiano can be a more subtly varied sounding instrument. His tempos are, generally, moderately paced, allowing for an easy and natural delineation of Mozartean texture, both harmonic and melodic. There are tons of Mozart keyboard recordings out there, but this one stands out as especially satisfying." Fanfare Magazine, Nov/Dec 2002.

Richard Fuller was born in Washington State (USA), studied piano and musicology at Central Washington University and the University of Oregon. He studied harpsichord and fortepiano in San Francisco and Vienna. The emphasis of his artistic work lies in the interpretation of the piano, chamber music and the Lied repertoire of the Viennese Classical and early Romantic periods, performed on the fortepiano and clavichord.

Richard Fuller is one of the few who has sought to address himself exclusively to the interpretive potential of the fortepiano - the sensitivity and delicacy of an earlier keyboard culture - and who succeeds in convincingly projecting these qualities to the listener. His artistic work has provided a decisive impulse to the Fortepiano revival in Germany and Austria.

Since 1982, his concert appearances have led him to the musical centers of North America and Europe where he appears as soloist, accompanist and member of various chamber music ensembles. In addition, he has collaborated with James Levine (and the Vienna Philharmonic), Emma Kirkby, Andrew Manze, Klaus Mertens, Claus Ocker, Festetics String Quartet (Budapest), Vienna Academy Orchestra, Musica Aeterna Bratislava, and the Vienna Fortepiano Trio.

Live concerts in radio and television, film, broadcast productions for German Radio (Cologne), North German Radio (Hamburg), Austrian National Radio, BBC and the Hungarian National Radio as well as numerous CD recordings document the artist's versatile achievements.

He was honored in 2002 by the University of Oregon School of Music as Distinguished Alumnus of the Year.

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Reviews


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www.rolandbowman.com

About time! So tired of hearing Mozart butchered on modern Grand.
About time! So tired of hearing Mozart butchered on modern Grand. Richard Fuller is one of the few who plays Mozart like Mozart intended. I ought to know with my degree in piano-forte. I hope other striving artists will follow Richard Fuller`s lead. Sublime. Roland J.Bowman
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John Carpenter

the alla turca
It is so refreshing to hear the famous alla turca played with insight, maturity, and inspiration, at a tempo which allows the music to breathe out its qualities. To hear it on Fortepiano also brings out something of the sonorous quality which would remind one of the Turkish musical sound that Mozart was emulating. I almost thought I heard the "alla turca" pedal being employed...an illusion that is much easier to imagine listening on the Fortepiano than it would be on the modern concert grand, where again, it is often dashed off more as a digital display piece.
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