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This final instalment in Blackshaw’s acclaimed live survey of Mozart’s 18 piano sonatas prefaces two later works with a pair of – relatively – early ones. The 11th is perhaps the best known, or rather the sonata with the best-known music. Blackshaw’s account of its evergreen Turkish finale deservedly brings the house down. His interpretations are highly cultured and lucid, models of poise and natural spontaneity. Just as Paul Lewis’ Beethoven sonata recordings had an air of the composer at the keyboard, the same is true of Blackshaw and Mozart here. Suggested similarities with Gieseking’s approach are underlined in No 18 by comparisons with the latter’s account on Homocord which I reviewed two years ago – not to Blackshaw’s detriment, either. Enchanting.

GUY RICKARDS Read the full review on Agora Classica


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