Fortepianist Kristian Bezuidenhout’s traversal of Mozart’s complete keyboard music is fast becoming one of the most significant recording projects of the 21st century, combining as it does the best contemporary thinking on historical performance practice with an individual and refined musical sensibility. No stranger to Australian audiences, Bezuidenhout is equally at home in an orchestral or solo instrumental context; he is also as much at home with the improvisatory aspects of historical performance as other fortepianists such as Robert Levin and the great Malcolm Bilson. These factors combine to enliven Bezuidenhout’s interpretations in both a colouristic and decorative sense. Even non-specialists will be left utterly convinced of his total fluency in the musical language of the 18th century. And how lovely to open with the deceptively simple C Major Sonata, K545, so familiar to generations of piano students and yet so elegant and ingenious in its writing.  Here, Bezuidenhout’s delicate phrasing, subtle balancing of voices and charming embellishments prepare the listener for what is to come, not only in other familiar works such as the piano sonatas K280, K279 and K576, but some preludes, a neo-baroque dance suite, a couple of allegros completed by Levin and three dazzling sets of…

How gratifying it is to enjoy the fruits of this generation’s lively interest in the art song, and in particular, German lieder. Recently, Australian audiences have had the good fortune to soak up the superb artistry of Ian Bostridge and Florian Boesch, two of this era’s greatest singers. Nor should we forget that outstanding singing is only one side of the lieder equation. Splendid accompanists are also indispensable in consummating the marriage between text and music. Whilst current concert-hall performances of lieder undoubtedly bring huge musical rewards, they are obviously scaled to the performance space. With the piano often on full stick, singers are not afraid to calibrate their delivery accordingly. On the other hand, it is a pleasure to be reminded by Padmore and Bezuidenhout of lieder’s more intimate origins. The South African born fortepianist (who began his studies in Australia and is back here this year guest leading the Australian Brandenburg Orchestra) uses a sweet-toned instrument by Rosenberger from about 1820 that is the perfect complement to Padmore’s lyrical tenor. Together they explore the tentative beginnings of lieder through the works of Haydn and Mozart, amongst which we have some delightful floral references; Haydn choosing a forget-me-not and Mozart…

A pioneering recording offers a fascinating window into the musical world of Henry VIII’s controversial second wife. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

★★★★½ Kristian Bezuidenhout paints a portrait of Amadeus in his own time.

The period keyboard wizard reveals the secrets of his unruly instrument and why playing it is like musical bonsai. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Australian Brandenburg Orchestra announce season with what “promises to
 be a year of beautiful music making.”