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Mozart - All 6 Sonatas for Piano 4 Hands

by Duo Granat - Tamara Granat & Adrian Kreda

Available for purchase here.
Plyte mozna kupic tutaj.

Another wish has come true...

Following Astor Piazzola tangos and Carlos Guastavino romances recorded in April 2015 on the Destiny album, we have now recorded all of Mozart's six sonatas ever written for four hands. And for the first time in Polish history!

This was a wonderful experience, a true katharsis of the body and soul. The music never grows tiresome and its performance provides unrivaled joy, satisfaction and sense of fulfillment. Although the nuances and details can be perfected without end, it is the simplicity of performance and beauty of sound that truly matter.

As Mozart wrote the pieces throughout the course of his life, they are very differentiated in sound and meaning: beginning with the exceptionally humorous sonata seen through the eyes of a nine-year-old boy (the Sonata in C-Major KV 19d), all the way up to the C-Major KV 521 composed towards the end of his life.

As performers, we especially admire the way in which Mozart understood the instrument. Being given the unique privilege of using 20 fingers, he wrote sonatas with an extremely full, almost opera-like sound. The piano plays the role of an orchestra – especially in the F-Major Sonata KV 497 and first part of G-Major Sonata KV 357 – as the composer simultaneously makes use of each and every register of the instrument. In Mozart's work, the opera and vocal are the foundation – and this is how all of the quick sixteen-note passages, ornaments and trills are meant to be interpreted. We need to let the instrument sing – and give ourselves enough space and time to organize the proportions of sound, dynamics and articulation.

Fully aware of the potential critique, we decided to record these sonatas with no double-takes – apart from the 1st and 2nd voltas and sections of the menuets. We consulted with the esteemed pianist Paul Badura-Skoda on issues of form, text and ornamentation. The album is meant to be lively and we want the listener to return to the sonatas hungry rather than overwhelmed.

We are grateful to have been able to record the album at the chamber hall of the National Symphonic Orchestra of the Polish Radio in Katowice. The ambiance was extremely friendly, comfortable and inspiring.

We wish to thank Joanna Wnuk-Nazarowa for her wonderful heart and helpful hand, Mrs. Anna Kantorska-Biegun and Anna Bywalec-Fojcik.

The recording would have never taken place without our sound engineer – Beata Jankowska-Burzyńska. Beata – we appreciate your incredible work, sensitive ear, creative ideas and wonderful editing. We can't find the words to thank you for your help along the way.

Mozart can be recorded and listened to without end. It is heavenly music – precise, delicate and perfect in every way.

For our recording, we used the Wiener Urtext Edition.

We hope you enjoy listening to the album as much as we enjoyed recording it.