Pianist Kristian
Bezuidenhout www.kristianbezuidenhout.com
was born in South Africa in 1979. He
began his studies in Australia before entering the Eastman School of Music. He
now lives in London. After initial
studies as a modern pianist with Rebecca Penneys he explored early keyboards,
studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson and
continuo playing and performance practice with Paul O’Dette.
Bezuidenhout first gained international recognition at the
age of 21 after winning the prestigious first prize as well as the audience
prize in the Bruges Fortepiano Competition. He is now a frequent guest artist
with the world’s leading ensembles including The Freiburger Barockorchester,
Orchestre des Champs Elysées, Orchestra of the 18th Century, English Concert,
Orchestra of the Age of Enlightenment, Concerto Köln, Chamber Orchestra of
Europe, Royal Concertgebouw Orchestra, Chicago Symphony, Sinfonieorchester des
Bayerischen Rundfunks, and Collegium Vocale Gent, in many instances assuming
the role of guest director. He has performed with celebrated artists including
John Eliot Gardiner, Philippe Herreweghe, Frans Brüggen, Trevor Pinnock, Ton
Koopman, Christopher Hogwood, Pieter Wispelwey, Daniel Hope, Jean-Guihen
Queyras, Isabelle Faust, Viktoria Mullova, Carolyn Sampson and Mark Padmore.
Since 2009, Bezuidenhout has embarked on a long-term partnership
with Harmonia Mundi, recording Mendelssohn’s piano concertos with the Freiburg
Baroque Orchestra and Schumann’s Dichterliebe with Mark Padmore, both winning Edison
Awards. His recording of Beethoven violin sonatas with Viktoria Mullovafor the Onyx
label won an Echo Award for the best chamber music album of 2011. A disc of Mozart Piano Concertos (K. 453
& 482) with the Freiburg Baroque Orchestra was released in November 2012.
Recent recordings for Harmonia Mundi http://store.harmoniamundi.com include Volumes 1, 2 & 3 of the complete
keyboard music of Mozart which have been awarded Diapason D'or, a Caecilia
Prize, and Preis der Deutschen Schallplattenkritik.
Now from Harmonia
Mundi http://store.harmoniamundi.com
comes
a two CD set of volumes 8 and 9 in Bezuidenhout’s Mozart series.
2CD HMU 907532.33 |
Kristian Bezuidenhout plays a fortepiano by Paul McNulty,
Divisov, Czech Republic, 2009 www.fortepiano.eu
after Anton Walter und Sohn, Vienna, 1805.
Bezuidenhout rings an unaffected charm to the Allegro of Mozart’s Sonata in C major, K.545 (1788) with a fine rhythmic buoyancy and a
rare fluency. There is a finely shaped Andante
that brings a lovely gentle flow as well as a great deal of beauty with a
beautiful phrased Rondo. There are
many gorgeous moments in this performance with Bezuidenhout bringing something
special.
8 Variations in F
major on 'Dieu d'amour' by André Grétry, K. 352 (1781) has some beautifully
rounded phrases with Bezuidenhout displaying a very fine touch, revealing some
lovely moments as these variations develop. His playing is full of energy as he
extracts some wonderful timbres and textures from this fine instrument.
This is a wonderfully shaped performance, full of life.
The Ouverture of Mozart’s Suite in C major, K.399 (c.1782) has a strikingly grand opening
that shows off this fortepiano at its finest. This pianist moves through some
volatile passages finely conveyed here, full of fine rhythms and textures and finding
a terrific forward drive. There is a lovely forward flow to the Allemande bringing much poetry with fine
care of dynamics. This is exquisitely done with a seemingly endless flow of
invention. The Courante brings the
same sense of unstoppable forward flow with such engaging playing. Bezuidenhout
brings a slow, thoughtfully developed Sarabande
(completed by Robert Levin), full of carefully conceived dynamics together with
fine textures and timbres.
There follows a wonderfully free Menuetto in D major, K. 355 (c.1789-91) revealing some of Mozart’s
wonderful harmonies and the (Eine
Kleine) Gigue in G major, K. 574
(1789) that really takes off with terrific phrasing and fine rhythms. This
pianist brings a real strength and grandeur to the Kleiner Trauermarsch in C minor, K. 453a (1784) finding a dark hued
drama.
The Sonata in F
major, K.280 (1774-75) opens with a really buoyant Allegro assai, again providing terrific phrasing and dynamics as
well as some beautifully played longer phrases. There is a most affecting Adagio where Bezuidenhout fully reveals his
poetic side in a performance of great sensitivity with the most fine phrasing
before a wonderful, rhythmically free, fast flowing Presto where he brings the most impressive display of fluency, a
wonderful technique, handling this instrument superbly.
Bezuidenhout brings a fine poise to the 9 Variations in D major on a menuet by Jean-Pierre Duport, K. 573
(1789) developing the music to achieve a terrific flow. Emperor Joseph II is alleged to have accused
Mozart of ‘too many notes’ when referring to The Marriage of Figaro. There are notes aplenty here but this fine
performer handles them with brilliant fluency as he moves through passages of
richer sonorities, achieving some terrific fast passages. There are more deeply
felt slower sections, beautifully done as well as some well sprung rhythmic
passages with this pianist often highlighting the full range of this instrument.
The second disc of this set, Volume 9 opens with Mozart’s Modulating Prelude in F-C, K. deest (K.
624/626a) (c.1777) where the pianist brings his wonderful fluency whilst exhibiting
the fine tone of this fortepiano, with all its appealing timbres, textures and
sonorities.
Bezuidenhout brings a bright and buoyant Allegro in the Sonata in C major, K.279 (1774-75) with
a fine steady momentum, crisp phrasing and a fine rubato. He provides a fine
flexible tempi and a lovely clarity too. With the Andante there is an attractive, gently flowing tempo with the most
lovely little details, beautifully paced and phrased. The concluding Allegro is finely wrought with freely
controlled tempi and dynamics and great care of phrasing, as well as such great
dexterity.
The Allegro in B-flat
major, K. 400 (completed by Robert Levin) (1781) is revealed as a most
attractive piece, Bezuidenhout finding much in the ever changing moods and
dynamics, drawing lovely textures and sonorities from this instrument . This is
some classic Mozart.
Another completed (completed
by Robert Levin) is the Allegro in G
minor, K. 312 (1790). It opens with a grand statement before moving through
some finely shaped passages, Bezuidenhout always finding variety to draw the
ear.
There is some spectacularly fine, fluent playing in the
opening Prelude of the Four Preludes, K.
284a (formerly Capriccio in C major, K. 395/300g) (1777). Broader
sonorities are combined with more florid passages in the second Prelude, a
crispness of delivery in the more volatile third before a fast moving, fluent
fourth Prelude that nevertheless ends on a gentler note.
A crisply stated theme opens the 12 Variations in C major on a menuet by Johann Christian Fischer, K.
179 (1774) before it is slowly developed with some lovely phrasing and
subtle rhythmic lifts. There is more crisp phrasing as the piece continues,
always pointed up dynamically. This is a quite intoxicating performance with such
beautifully and subtly varied dynamics and tempi. Later there is a wonderfully
limpid, slow passage before the music races to a terrific, buoyant, rollicking
coda.
To end the second disc Bezuidenhout brings us Mozart’s Sonata in D major, K.576 (1789) with a
lively crisp Allegro performed with tremendous
clarity within a forward flowing momentum, punctuated by moments of more
restrained calm and poetry. There is a finely paced Adagio with moments of tremendous forward thrust and intensity before
a soft, gentle coda. The Allegretto is
crisply pointed, showing more of Bezuidenhout’s fine fluent touch with a lovely
understated coda to end this fine disc.
Kristian Bezuidenhout gives absolutely brilliant
performances here, showing his superb technique and fine musicianship. He is
given a wonderful recording full of sparkle and clarity, with a fine fortepiano
tone. There are informative booklet notes together with details of tuning and
temperament.
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