Review: Mozart - Piano Sonatas, Vol. 3

Angela Hewitt’s third and final installment of her Mozart piano sonatas cycle also marks her 50th release for the Hyperion label. This 2-CD volume differs slightly from the previous two (released in 2022 and 2023), which focused exclusively on sonatas. Here, the generous curation includes sonatas K. 457 in C minor, K. 533 in F major, and the much-loved K. 545 in C major (“Facile”), alongside the Variations on “Ah, vous dirai-je, Maman”, the Fantasia in C minor, and a pair of rondos.

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Hewitt’s performance of the C Minor Fantasia (track 1) captures a sense of gravitas, but her handling of the recurring subito accents feels overly forceful. The abrupt contrasts are clearly marked, but tend toward the heavy-handed and occasionally severe. Leif Ove Andsnes, in his Mozart Momentum series, better maintains the element of surprise while preserving a gentler, more inviting tone.

In the sonata that follows, the Molto Allegro (Disc 1, track 2) suffers from similar bluntness; though Hewitt shows great care with each note, the effect can hinder the music’s flow. At several points, a greater sense of momentum would have helped—something found in Piotr Anderszewski’s more pliant recording for Warner Classics. The slow movement would benefit from a rounder tone but flows more naturally, aided by tasteful rubato and an unforced, vocal phrasing. The final movement returns to the sonata’s theme of contrast with an effective interplay between extroversion and delicacy. Its fuller, almost ensemble-like passages nicely complement the more intimate ones.

Often, a pianist’s touch is most telling in so-called “simpler” works—here, the Sonata in C major, K. 545. The label “Sonata facile” is misleading: it’s all too easy to make this sound like a finger exercise. I was relieved that Hewitt did not rush through the first movement (Allegro, Disc 1, track 8). Her more deliberate tempo, while slower than Vikingur Ólafsson’s brisk approach on his recent Mozart album, allows for nuanced phrasing and articulation. However, the Andante (Disc 1, track 9) feels hurried and somewhat driven—an interpretation at odds with the movement’s lyrical innocence, more convincingly conveyed in Mitsuko Uchida’s version. Still, the concluding Rondo regains charm with its buoyant elegance.

Of the remaining sonatas, the B-flat major, K. 570 stands out. The Allegro (Disc 2, track 14) finds a satisfying balance between dignity and lyricism, qualities missing elsewhere in the set. The central movement is particularly appealing, thanks to Hewitt’s sensitivity to phrasing and color—especially in the repeated sections. She gives the higher-register melodies a crystalline transparency, while the closing movement unfolds with an engaging, lightly comic energy.

Angela Hewitt (image: © Richard Termine)

In the Variations on “Ah, vous dirai-je, Maman” (Disc 2, tracks 1–13), Hewitt brings out a distinct orchestral weight. Some of this is due to the instrument’s resonant lower register, but Hewitt also carefully shapes the louder dynamics for a rich, full-bodied sonority. Yet the set can feel too uniform overall. More varied articulation or emphasis on each variation’s character would add welcome contrast—something Lang Lang achieved more successfully in his Piano Book album for DG.

Among the shorter pieces, the Rondo in D major, K. 485 (Disc 1, track 11) is especially successful. Hewitt builds on the key’s natural brightness, and the crisp articulation—including the delicate turns and two-note figures—adds a sense of spontaneity. As the theme reappears in unexpected tonal areas, Hewitt gives each return a distinct flavor.

Compared with the earlier volumes in this cycle—which included some standout sonata performances—this final installment feels less convincing overall. That said, there is still much to enjoy. Hewitt’s deep connection to the repertoire remains evident, as does her commitment to exploring Mozart’s many stylistic facets.