back
GEN 86067 EAN: 4260036250671
24.11.2006Special offer18.90 € 16.90 €
After Babette Dorn paid heartfelt tribute to the great seducer Don Giovanni from her keyboard (GEN 86052), she is now going to muss up Figaro hair, and not too gently either.
These nine transcriptions for piano from The Marriage of Figaro sound like a collection of colorful wigs placed atop the heads of Mozart’s characters. For Beethoven it sounds artistic and slightly unkempt, for Czerny lustrous and impeccably pinned up and for Leidesdorf it breathes simple grace, with one or two glistening teardrops. Babette Dorn’s unpretentious and soulful playing opens up a magical chest of precious findings which are a dream come true for those who want to hear Mozart’s music without the annoyance of operatic singers on stage and also a delight to listen to for any lover of piano music.
"Babette Dorn senses each individual nuance of this development, is flexible in her interpretative style, making this early chapter of Mozart’s sounding reception convincingly vital."
Piano News 2/2007
Audio Player
Tracklist
- W.A. Mozart / J. N. Hummel
Overture to Figaro - F. Kalkbrenner (1785-1849)
Din din: Introduction et Rondeau op. 57 - L. v. Beethoven (1770-1827)
XI Var. über Se vuol ballare WoO 40 - J. N. Hummel (1778-1837)
Fantasina über Non più andrai op. 124 - W. A. Mozart / M. Leidesdorf
Porgi, amor, qualche ristoro - W. A. Mozart / S. Thalberg
Voi che sapete op. 70 Nr. 20 - Ferdinand Ries (1784-1838)
Sept Variations sur le thème Amanti Constanti - W. A. Mozart / M. Leidesdorf
L’ho perduta, me meschina - Carl Czerny (1791-1857)
Fantaisie brillante op. 493
After Babette Dorn paid heartfelt tribute to the great seducer Don Giovanni from her keyboard (GEN 86052), she is now going to muss up Figaro hair, and not too gently either.
These nine transcriptions for piano from The Marriage of Figaro sound like a collection of colorful wigs placed atop the heads of Mozart’s characters. For Beethoven it sounds artistic and slightly unkempt, for Czerny lustrous and impeccably pinned up and for Leidesdorf it breathes simple grace, with one or two glistening teardrops. Babette Dorn’s unpretentious and soulful playing opens up a magical chest of precious findings which are a dream come true for those who want to hear Mozart’s music without the annoyance of operatic singers on stage and also a delight to listen to for any lover of piano music.
"Babette Dorn senses each individual nuance of this development, is flexible in her interpretative style, making this early chapter of Mozart’s sounding reception convincingly vital."
Piano News 2/2007