Order number: B 108 021
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Order number: B 108 021

Mozart | Klaviersonaten, Vol. 1-5

Gitti Pirner

Recorded at Farao Studios Munich, 1996/99

5-CD-Set in a slipcase



  • CD 1
  • Sonata B flat major, KV 570 | Sonata D major, KV 576 | Sonata C major, KV 545 Facile | Sonata F major, KV 533/494

  • CD 2
  • Fantasy C minor, KV 475 | Sonata C minor, KV 457 | Sonata F major, KV 332 Sonate B flat major, KV 333

  • CD 3
  • Sonata C major, KV 330 | Sonata A major, KV 331 | Sonata D major, KV 311 Sonata A minor, KV 310
  • CD 4
  • Sonata F major, KV 280 | Sonata C major, KV 279 | Sonata B flat major, KV 281 Sonata E flat major, KV 282

  • CD 5
  • Sonata C major, KV 309 | Sonata G major, KV 283 | Sonata D major, KV 284



  • Gitti Pirner (piano)

    • The Piano Sonatas by W. A. Mozart - complete recording

    "When as a child I used to play Mozart sonatas, I would do this with great joy and quite unaffectedly (only the slow movements weren’t so much fun). Through them I could express at the piano everything that was inside me: happiness, high spirits, rage, sadness – I found that Mozart had captured all of this in his music in the most natural and direct way.

    As I grew older and my repertiore larger I recognised that in Mozart’s music you could find not only my little world, but the whole gamut of human emotions. Everything is said with the minimum of "words".
    With all the technique and tonal possibilities at my disposal, I shall always find interpreting music which was written using only the minimum of what was necessary, a great charm and a challenge.

    Thus these sonatas have accompanied me throughout my entire musical life, which makes me very happy and also grateful."

    Gitti Pirner

    Press review

    Bayern Kurier

    Gitti Pirner's warm-hearted Mozart

    Mozart's eighteen piano sonatas encompass the entire cosmos of this maturing and mature master in the years between 1774 and 1789. For the 'FARAO classics' label, Munich pianist and professor of pianoforte Gitti Pirner has now finished recording a 5 CD set of the complete piano sonatas.

    Mozart's piano sonatas are probably the most famous of all works for that instrument. After a few years all students of the piano come across the so-called "Sonata facile" in C Major KV 545 (and thus quicker than expected reach the limits of their abilities) they almost all 'dream' of the A Major sonata KV 331 with its "Alla Turka" allegretto closing movement; and the ambitious try to surmount the monumental C Minor Fantasy and the C Minor sonata KV 474 or 457 which Mozart himself meant to be published with it.

    Let us agree to saying that anyone who has tried at least half seriously to play the piano and has made their own experiences, happy and sorrowful with Mozart's sonatas, can learn from and really enjoy Gitti Pirner's interpretation. Because one can discover here just what is in the score.
    That is to say that in the andante cantabile KV 330 for example, the pianist, who takes moderate tempi almost the whole time (thus eliminating the danger of excessive effervescence and the kind of virtuosity that involves a loss of substance,) takes her time; which is something lacking in other performances. And here as well, the occasional tiny inserted fraction of a second's pause in the tempo for breath, which for example the newcomer Michael Endres for Arte Nova has declared to be basic principle of style.
    As a general rule Gitti Pirner does not play the runs 'weightlessly', which Mozart's early instrument was not capable of, but clearly articulated with a hint of worldly familiarity that allows the structure of the composition to remain cogent, with a full sound, allowing clarity of tone-colours, particularly in her superb left hand.
    Just as in the tempi, the pianist limits herself in dynamic range, and avoids extremes. Mozart as a perfectionist of the classical period.
    The recording of the early Mozart's sonatas was released this year, thus concluding the entire cycle. The first CD of the cycle was started a few years ago with the late Viennese sonatas, and shows with their appreciable and disciplined interpretation that they are not as overladen as Glenn Gould once said of them.
    Gitti Pirner is part of that glorious Mozart tradition of Clara Haskil or Ingrid Häbler – it almost seems that in their humility toward the composition women have a deeper understanding for Mozart's pianistic language than men do, who like to bring more of themselves into the discussion.

    At any rate, the new recording which seldom seems impetuous and shows consistency rather than searching for ways to branch out, gives us much of the kind of Mozart that we all love.
    Wolfgang Johannes Müller, 2002