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Track(s) taken from CKD352

Fantasia in D minor, K397

composer
? 1782

Gottlieb Wallisch (piano)
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Recording details: August 2009
St George's, Brandon Hill, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs
Release date: May 2010
Total duration: 5 minutes 38 seconds
 

Other recordings available for download

Marc-André Hamelin (piano)
Hilda Dederich (piano)
Wanda Landowska (piano)

Reviews

'The Fantasia is beautifully conceived, with a good improvisatory style and fine projection of contrasting moods. The great Rondo is also thoughtfully performed and I hear a perfect balance between mind and heart in the playing, with a subtle feeling for the music's chromaticism. Best of all are the Variations, one of Mozart's finest sets, musically and technically challenging and full of interpretative opportunities. From the first notes of the theme, one senses that Wallisch feels strongly about the music, and each variation is beautifully characterized. High drama and virtuosity vie with some lovely expressive moments' (International Record Review)» More

'Gottlieb Wallisch has been performing on the World stage for over a decade. He's played with the Vienna Philharmonic, the Royal Liverpool Philharmonic Orchestra and the London Philharmonic Youth Orchestra to name but a few. The programs on this disc are from some of Mozart's most fruitful period of composition and are some of his best-loved works. The period in Vienna is 1781-1791. Sonata No 18, K576 is very well known as is the very short Fantasy in D minor, K397. Sonata 17, K570 is a wonderful intro to the last works here, the Rondo in A minor, K511 and a stunning Ten Variations in G major, K455. Wallisch, born into a family of musicians, plies his craft with aplomb and demonstrates his competition prizewinning ways in the truest sense of the Viennese piano tradition. His tone is clear, precise with excellent fingering techniques that are sure to captivate the listener. Linn has given us some of the finest Steinway piano sounds I have ever heard. This is a disc that offers a true window into the genius of Mozart through exceptional talent. An intimate, lifelike endeavour' (Hi-Fi Plus)

'Delicacy of touch is the hallmark and chief selling point of these recordings; if that is your main criterion, this programme of piano music from the last ten years of Mozart's life may be confidently recommended. Wallisch, who has previously recorded Schubert for Naxos, is equally well attuned to the music of Mozart. Add to that a good recording—even in ‘ordinary' CD-quality sound—and you have the ingredients of a fine download' (MusicWeb International)

'Most notable are the performances themselves. Wallisch is particularly fluent and poised, each movement given shape and point, and a depth of expression that suggests Wallisch's complete involvement with these pieces in performances that search and express from within' (Hi-Fi Critic)

'Mozart und Wien—das gehört zusammen. Und dann wird seine Musik auch noch vom 1978 in Wien geborenen Pianisten Gottlieb Wallisch interpretiert. Das scheint eine gelungene Melange. Und tatsächlich: Wallisch liebt Mozart. Für sein Debüt beim englischen Label Linn hat er sich Werke aus einer besonders fruchtbaren Phase in Mozarts Leben ausgesucht. Kaum den Fängen des Salzburger Fürsterzbischofs Hieronymus von Colloredo entlaufen, wagte Mozart in Wien einen Neubeginn als freischaffender Künstler und lebte im sogenannten ,,Clavierland'' auf. Neben den ausdrucksstark gespielten Sonaten B-Dur KV 570 und D-Dur KV 576 glänzt Wallisch mit einem farbenreichen Rondo a-Moll KV 511 und der transparent leuchtenden Fantasie d-Moll KV 397. Zum Abschluss gibt es die Variationen mit dem charmanten Titel ,,Unser dummer Pöbel'' KV 455. Wallisch spielt hier mit viel Sinn für die Effekte' (Piano News, Germany)
Mozart’s assorted shorter solo keyboard works—variations, rondos, fantasias and dance movements—include some of his most personal and inward-looking music. Probably dating from 1782, the Fantasia in D minor, K397, is a Mozartian response to the fantasias of C P E Bach, and a forerunner of the great Fantasia in C minor, K475. Like that work it probably began life as an improvisation. After a sequence of brooding arpeggios, the first section consists of three statements of a D minor theme replete with sighing appoggiaturas, like a mournful soprano aria. Each statement takes a different direction before dissolving into cadenza-like figuration. Finally D minor resolves into D major courtesy of an innocent, song-like Allegretto melody. Mozart’s autograph then breaks off in mid-flow, prompting the publisher Breitkopf to add ten concluding bars. Like several other pianists, Marc-André Hamelin rejects Breitkopf’s solution in favour of a newly composed ending of his own.

from notes by Richard Wigmore © 2015

Certaines œuvres pour clavier solo plus courtes—variations, rondos, fantaisies et mouvements de danse—comptent parmi les musiques les plus personnelles et les plus introspectives de Mozart. Datant probablement de 1782, la Fantaisie en ré mineur, K397, répond aux fantaisies de C. P. E. Bach et préfigure la grande Fantaisie en ut mineur, K475. Comme elle, elle commença certainement par être une improvisation. Passé une série d’arpèges menaçants, la première section comprend trois énonciations d’un thème en ré mineur doté d’appoggiatures soupirantes, comme dans une dolente aria de soprano. Chaque énonciation prend une direction différente avant de se dissoudre dans une figuration façon cadence. Finalement, ré mineur se résout en ré majeur grâce à une innocente mélodie d’Allegretto en manière de chanson. L’autographe de Mozart s’arrête alors en plein milieu, obligeant l’éditeur Breitkopf à ajouter dix mesures conclusives. Cette solution, Marc-André Hamelin, comme d’autres pianistes, la rejette au profit d’une conclusion nouvelle de son cru.

extrait des notes rédigées par Richard Wigmore © 2015
Français: Hypérion

Einige von Mozarts verschiedenen, kürzeren Solowerken für Klavier—Variationen, Rondos, Fantasien und Tanzsätze—gehören zu seinen persönlichsten und innigsten Kompositionen. Die wohl aus dem Jahre 1782 stammende Fantasia in d-Moll, KV 397, ist Mozarts Antwort auf die Fantasien von C. Ph. E. Bach und verweist auf die große Fantasia in c-Moll, KV 475. Wie diese ging sie wahrscheinlich aus einer Improvisation hervor. Nach einer Sequenz grüblerischer Arpeggien folgt im ersten Teil dreimal ein d-Moll-Thema voller Seufzer-Appoggiaturen, wie eine klagende Sopranarie. Jeder Eintritt des Themas nimmt eine andere Richtung, bis es sich in einer Kadenz-artigen Figur auflöst. Mittels einer unschuldigen Liedmelodie (Allegretto) geht d-Moll schließlich in D-Dur über. Mozarts Autograph bricht dann mittendrin ab, woraufhin der Verleger Breitkopf noch zehn abschließende Takte hinzugefügt hat. Wie mehrere andere Pianisten verwirft Marc-André Hamelin Breitkopfs Lösung zugunsten eines von ihm selbst neukomponierten Schlusses.

aus dem Begleittext von Richard Wigmore © 2015
Deutsch: Christiane Frobenius

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