℗ 2022 SOMM Recordings
Released | March 18, 2022 |
Duration | 1h 02m 16s |
Record Label | SOMM Recordings |
Catalogue No. | SOMMCD0648 |
Genre | Classical (Piano) |
Mozart: Piano Sonatas, Vol. 5
Peter Donohoe
Available in 88.2 kHz / 24-bit AIFF, FLAC high resolution audio formats
Piano Sonata No. 15 in F Major, K. 533
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1.1
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I. Allegro
Wolfgang Amadeus Mozart; Peter Donohoe |
7:56 | |||
1.2
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II. Andante
Wolfgang Amadeus Mozart; Peter Donohoe |
9:09 | |||
Piano Sonata No. 15 in F Major
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1.3
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III. Rondo. Allegretto, K. 494
Wolfgang Amadeus Mozart; Peter Donohoe |
6:21 | |||
Piano Sonata No. 3 in B-Flat Major, K. 281
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1.4
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I. Allegro
Wolfgang Amadeus Mozart; Peter Donohoe |
6:23 | |||
1.5
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II. Andante amoroso
Wolfgang Amadeus Mozart; Peter Donohoe |
6:10 | |||
1.6
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III. Allegro
Wolfgang Amadeus Mozart; Peter Donohoe |
4:31 | |||
Piano Sonata No. 13 in B-Flat Major, K. 333 "Linz Sonata"
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1.7
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I. Allegro
Wolfgang Amadeus Mozart; Peter Donohoe |
7:27 | |||
1.8
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II. Andante cantabile
Wolfgang Amadeus Mozart; Peter Donohoe |
7:52 | |||
1.9
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III. Allegretto grazioso
Wolfgang Amadeus Mozart; Peter Donohoe |
6:27 | |||
Digital Booklet
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SOMM Recordings’ acclaimed survey of Mozart’s Piano Sonatas by Peter Donohoe nears its end with Volume 5 featuring three works from very different periods of the composer’s life. The earliest Sonata, No.3 in B-flat major, K281, from 1775, shows the 18-year-old composer in effervescent mood, nimbly drawing on French and Italian influences, with a cadenza composed by Donohoe for its Rondo finale. From January, 1788, the latest Sonata, No.15 in F major, K533/494, is an ingenious exercise in compromised creativity. Finding himself short of time, Mozart revised an earlier Rondo for the finale to two chromatically rich original movements caught between the Salzburg Serenades he was keen to leave behind and the aria-like coloratura he hoped would appeal to audiences. A decade earlier, the Sonata No.13 in B-flat major was composed in Paris as Mozart reeled from the death of his mother and the failure of his bid for success in the French capital. His only consolation had been an encounter with Johann Christian Bach, from whom Christopher Morley says in his authoritative booklet notes, he “learned balance and dialogue (the characteristic answering to an assertive masculine opening statement by a yielding, delicate feminine response...) and these qualities inform K333”.
88.2 kHz / 24-bit PCM – SOMM Recordings Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -3.66 -6.44 to -1.26 | -24.23 -28.11 to -21.70 | -21.29 -25.30 to -18.80 | 13 12 to 14 | |
1 | I. Allegro | -1.87 | -23.06 | -20.3 | 14 |
2 | II. Andante | -5.49 | -26.74 | -23.7 | 14 |
3 | III. Rondo. Allegretto, K. 494 | -3.81 | -24.59 | -21.7 | 13 |
4 | I. Allegro | -3.18 | -21.70 | -18.8 | 12 |
5 | II. Andante amoroso | -4.92 | -24.62 | -21.4 | 12 |
6 | III. Allegro | -1.36 | -22.51 | -19.6 | 13 |
7 | I. Allegro | -4.63 | -23.93 | -21.1 | 13 |
8 | II. Andante cantabile | -6.44 | -28.11 | -25.3 | 14 |
9 | III. Allegretto grazioso | -1.26 | -22.79 | -19.7 | 13 |