This disc is a reissue of recordings made ten years
ago but which has been only fitfully available since then. Mamou recorded
the complete Mozart piano sonatas on five CDs, and these are now available
once again. Their return is welcome, since the performances are stylistically
sensitive and the recordings generally natural and clear.
Mamou plays a modern instrument rather than a fortepiano,
but the insert notes tell us precious little about the circumstances
of the recording. The same is true of the programme note, alas, which
is far too short to give more than the most rudimentary introduction
to the music. This is a pity, since the performances are so pleasing.
The Tunisian-born pianist Roberte Mamou is based in
Europe, and has worked mostly in Belgium. She has just the right manner
for this repertoire, always seeming to choose an appropriate tempo and
to phrase with care for the musical line and the thematic personality.
When these things feel as spontaneous and natural as they do here, the
performer can take due credit.
A gap of several years separates the first two items
on this programme from the last two. During those few years Mozart made
the significant move to Vienna, where he was based for the last ten
golden years of his tragically short life. There is no problem with
the coupling as offered, however, since Mamou has recorded all the sonatas
in virtually chronological order, and all five discs in the series are
generously filled.
The F major and B flat major Sonatas from 1778 have
much in common, from the stylistic point of view, although their individual
personalities are not to be denied. The differences are felt most strongly
in the slow movements, the one a true Adagio (TRACK 2, 0.00), the other
a flowing Andante cantabile (TRACK 5, 0.00). Mamou characterises these
things to perfection, only in matters of atmosphere might the performance
have been enhanced; this seems a rather dry acoustic, as recorded.
The addition of the C minor Fantasia to a cycle of
sonatas might at first sight seem an indulgence. Far from it, however,
since the music is inextricably linked with the Sonata in the same key,
and the two are often performed together. (They are just as often performed
separately.) The Fantasia, with its more wide ranging emotional world,
is a long way removed from the poise and elegance of so many of the
earlier sonatas. Few of Mozart's Viennese compositions, moreover, are
more turbulent in mood. More famous artists have recorded this music,
of course, and to great effect too: András Schiff (Decca) is
wonderfully atmospheric, for example, Daniel Barenboim (EMI) more romantically
expressive. But Mamou gives enormous satisfaction, and her view is certainly
eloquent, her judgements soundly made (try TRACK 7, 0.00). Above all
she succeeds in communicating the fact that Mozart's creative personality
had moved on to another plane.
The same might be said of the Sonata in the same key
of C minor. The musical language has great depth and intensity, the
virtuosity used to expressive purpose. Mamou communicates very directly,
and the recording has a pleasing ambience. This is another success in
this impressive series.
Terry Barfoot
NOTE •
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Roberte Mamou (piano) 
