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Thomas Leininger | Mozart: Fantasie, K.397 & Sonatas, K.331, K.332 – Beethoven: Sonata, Op. 2, No. 1

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Mozart: Fantasie, K.397 & Sonatas, K.331, K.332 – Beethoven: Sonata, Op. 2, No. 1

by Thomas Leininger

Dramatic historically-informed fortepiano performances of Mozart and Beethoven, complete with improvised preludes, flexible rhythm & tempo, ornamental variations, and cadenzas.
Genre: Classical: Piano solo
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  Song Share Time Download
1. Fantasie in D Minor, K. 397
6:12 $0.99
2. Piano Sonata No. 11 in A Major, K. 331: I. Prelude. Andante grazioso
16:08 $0.99
3. Piano Sonata No. 11 in A Major, K. 331: II. Menuetto
6:15 $0.99
4. Piano Sonata No. 11 in A Major, K. 331: III. Rondo alla turca (Allegretto)
3:51 $0.99
5. Piano Sonata No. 12 in F Major, K. 332: I. Prelude. Allegro
10:03 $0.99
6. Piano Sonata No. 12 in F Major, K. 332: II. Adagio
4:38 $0.99
7. Piano Sonata No. 12 in F Major, K. 332: III. Allegro assai
8:16 $0.99
8. Piano Sonata No. 1 in F Minor, Op. 2: I. Prelude. Allegro
7:09 $0.99
9. Piano Sonata No. 1 in F Minor, Op. 2: II. Adagio
5:26 $0.99
10. Piano Sonata No. 1 in F Minor, Op. 2: III. Menuetto
4:37 $0.99
11. Piano Sonata No. 1 in F Minor, Op. 2: IV. Prestissimo
5:26 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Thomas Leininger’s approach to performing late eighteenth-century fortepiano music by Mozart and Beethoven is rooted in the playing styles of the time, as described in the documents that transmit the practices to us. Thomas not only liberates himself from the written page to embrace a powerful form of musical oratory that lays the foundation for his evocative performing style but he also improvises a prelude before each of the three sonatas.

He begins with Mozart’s Fantasie in D Minor (K.397, 1782 or 1786-7), which sets a tone of spontaneity for the album, and he models his extempore prelude to Mozart’s Sonata in A Major (K.331, 1784) on Muzio Clementi’s “Preludio II alla Mozart” (Musical Characteristics, 1787). Similarly, the prelude to the next work, Mozart’s Sonata in F Major (K.332, 1784), borrows from Clementi, and for Beethoven’s Sonata in F Minor, Op. 2, No. 1 (1796), ideas from both Clementi and Carl Czerny inspired the prelude.

But beyond improvised introductions to the sonatas, Thomas’s oratorical sensibilities extend to many practices typical of late eighteenth- and early nineteenth-century performers – flexibility of rhythm and tempo, ornamental variations, short cadenzas, dislocation of the hands, an individual character for each section of the music, and frequent use of the moderato lever.

The following sources helped shape Thomas’s musical practices:

Muzio Clementi, Metodo completo pel Piano-Forte, n.d.

Muzio Clementi, Musical Characteristics, Op. 19, 1787

Daniel Gottlob Türk, Klavierschule, 1789

Friederich August Kanne, Versuch einer Analyse der Mozart’schen Clavierwerke, 1821

Johann Nepomuk Hummel, Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, 1828

Carl Czerny, Vollständige theoretisch-practische Pianoforte-Schule, c.1838-46
3.Teil: Von dem Vortrage
4.Teil: Die Kunst des Vortrags der ältern und neuern claviercompositionen

Carl Czerny, Beethoven’s Masterpieces, being the entire of his grand sonatas for the piano forte, edited by his friend and pupil Carl Czerny, n.d.

Johann Baptist Cramer, 21 Etüden für Klavier nach dem Handexemplar Beethovens aus dem Besitz Anton Schindlers, n .d.

Sophie Westenholz, Thème avec X Variations pour le Piano-Forte, Op. 2, n.d.

Ignaz Moscheles, W. A. Mozart, Sämmtliche Sonaten für das Pianoforte, 1859

Ignaz Moscheles, L. v. Beethoven, Sämmtliche Sonaten für Pianoforte, c.1859

Anton Schindler, Biographie von Ludwig van Beethoven, 1840-60

Ferdinand Ries and Franz Gerhard Wegeler, Biographische Notizen über Ludwig v. Beethoven, 1838.

* * * * * * * * * *

Thomas Leininger studied harpsichord, organ, thorough bass, and historical improvisation at the Schola Cantorum Basiliensis. In 2005 he received a commission from the festival “Winter in Schwetzingen” to complete and reconstruct the lost portions of Antonio Vivaldi’s operas Il Motezuma and Il Bajazet. The opera for children, Dino und die Arche, premiered at the Baden State Theater in Karlsruhe in 2012. Further, Thomas Leininger is active internationally on the concert stage as a specialist for historically informed performance practice, as is documented by numerous recordings. He has recorded Handel sonatas with Sven Schwannberger (recorder), Mozart sonatas with Isabel Schau (violin) for Tangent-piano and violin (musicaphon), and Secret Fires of Love with tenor Daniel Thomson (Talbot Records). Teaching at the Schola Cantorum Basiliensis (thorough bass and performance practice) and scholarly publications – most recently in the Handel Lexicon – round out his work.

* * * * * * * * * *

Produced by Robert Toft (Talbot Records – London, Canada)

Recorded at Von Kuster Hall, Western University (Canada), 29-31 August 2018 (Pro Tools, 24 bit / 96 kHz)
Engineer – Kyle Ashbourne
Editing – Kyle Ashbourne & Robert Toft
Mixing – Robert Toft

Fortepiano – R. J. Regier (Freeport, Maine), after Anton Walter
Tuning and regulation – Ariel Harwood-Jones (Vallotti pythagorean at 430 Hz)

Microphones – Schoeps MK 2 (A-B), Milab DC-196 (ORTF)
Interface – Merging Technologies Hapi, with ADA8 preamps

Cover Image – Bernardo Bellotto and Workshop, Nymphenburg Palace, Munich, c.1761. Courtesy National Gallery of Art, Washington, D.C., Samuel H. Cress Collection, 1961.9.63

Talbot Records, TR 1901
www.talbotrecords.net

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