Mystical Mozart
Wolfgang Amadeus Mozart (1756-1791)
Complete Piano Sonatas
Jennifer Lim (piano)
rec. 2021, 2021-23 Mendelssohn-Saal Gewandhaus, Leipzig
Genuin GEN 25928 [5 CDs: 402]

Having heard and been pleasantly impressed by Jennifer Lim’s recording of three Mozart sonatas on the Genuin label back in 2015 (review) I was delighted to see she has now recorded a complete set at the same Gewandhaus venue. This has been a long-term desire of hers and she speaks warmly about the effect of these sonatas on her from a young age in the booklet for this set. I’m sure we are all happy to see it become a reality. Comparing the earlier recording to this present set and, aside from a few subtleties that tell us that these are indeed different recordings, the timings and feel are very much alike in each of the sonatas duplicated, K.545, K.331 and K.332. With this complete collection we are also treated to Mozart’s 12 Variations in C Major on Ah vous dirai-je, maman, K. 265 as a kind of encore, a nice addition which isn’t a huge selling point but is a fun extra track to round off this set.

I described Lim’s Mozart in the earlier release as “a model of restraint”, and while there is plenty of contrast between movements and dynamic range within, there is an adherence to convention and lack of pretension in these performances that make them both immediately attractive and a suitable choice as a ‘go-to’ collection. The inner life in something like the opening Allegro of K.310 promises that this conventional approach need not be dull or uninteresting, quite the opposite in fact, with Lim pulling out all of the dramatic stops in this case, making the movement into quite the Mozartian operatic overture. The Andante cantabile con espressione central movement is a favourite of many, and though the dynamic rise and fall lends a vertical feel to some aspects of the music there is plenty of grace in Lim’s lyrical lines, and I would rather have inner dynamic contrast than too much pulling around of the tempo. There is a funny squeak 16 seconds into the final Presto of this sonata but otherwise all is well.  

While the sonatas are listed in order below, each well-filled CD in this set is its own recital, with a selection of works arguably chosen with a view to key relationships. In any case there is no chronological sequence to the set, and each disc is a satisfying listen in its own right. There seems to be no real reason for the title Mystical Mozart attached to this set, but reading Lim’s words on the Mozart sonatas is quite the key to her playing. She is very much tuned into “the spontaneity and lightness of these pieces”, and particularly into the “tranquil softness and tenderness” of the slow movements. These are all aspects of Lim’s approach to Mozart that are communicated very effectively in these recordings. The historic Gewandhaus venue also has its effect, with Lim stating that “I felt completely at ease there, as if the music enveloped me in comfort”. The acoustic of the hall is nicely present and perfectly suited to solo piano, balanced well between performer and audience and still with plenty of detail in the sound. One can take or leave reading about Lim’s personal attachment with Mozart’s sonatas but they are at least an insight into the background of these recordings and her approach in general. The booklet contains no further commentary on the actual sonatas.  

The Sonata in D major K.576 can stand as a representative for the whole. The first movement Allegro conjures some proud horsemanship, with impressively joyous virtuoso embellishments which lead to some mad counterpoint further on. The minor-key section at 2:48 is a beautiful change of mood, with some subtle extra use of the pedal to create a momentary atmosphere of mystery. The central Adagio has that lyrical simplicity that Lim paints with a pellucid touch, leaning in just enough to Mozart’s moments of angst without overemphasis. The final Allegretto, almost as substantial as the first movement, is filled with light and humour, a musical narrative filled with event and perhaps some little confiding winks to the audience, ‘you get this, right?’

The point of Lim’s ‘restraint’ here is that everything is nicely in proportion. She can of course whip up a virtuoso storm when the music demands, but there are no really wild extremes or eccentricities and no need for them within a context of elegance and affirmative expression. Lim gives each movement its due charm and depth, and has space to explore Mozart’s darker and more dramatic moments without any need to force beyond established boundaries of stylistic taste.    

I am still a big fan of Mitsuko Uchida’s Mozart sonatas (review), but when it comes to complete sets I see Jennifer Lim’s recording very much as a worthy alternative. Uchida’s K.576 is a little broader in the first movement, adding a little more subtlety to the contrasts in each passage. The Adagio is almost identical in duration, with a touch more intimacy that can arguably put down to a closer balance in the recording, and the final movement is again similarly paced by each player. Comparing the two, I sense Uchida is a little more forward-looking, with something of Schubert in her approach to Mozart’s more dramatic contrasts. Lim’s piano is more concert-hall in balance, and that metre or so of extra distance gives her performance a more ‘public’ feel, where Uchida is one-to-one with the listener. Both of these are entirely valid approaches, but the differences are enough to see me wanting to keep both to hand, ready for whichever connection to Mozart most suits my mood.

Dominy Clements            

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Contents
Sonata in C major K.279 (1774)
Sonata in F major K.280 (1774)
Sonata in B flat major K.281 (1774)
Sonata in E flat major K.282 (1775)
Sonata in G major K.283 (1775)
Sonata in D major K.284 (1775)
Sonata in C major K.309 (1777)
Sonata in A minor K.310 (1778)
Sonata in D major K.311 (1777)
Sonata in C major K.330 (1783)
Sonata in A major K.331 (1783?)
Sonata in F major K.332 (1783)
Sonata in B flat major K.333 (1783)
Sonata in C minor K.457 (1784)
Sonata in F major K.533/494 (1788/1786)
Sonata in C major K.545 (1789)
Sonata in B flat major K.570 (1789)
Sonata in D major K.576 (1789)
Variations in C major “Ah, vous-dirai-je, maman” K.265 (1780-1782?)