Wolfgang Amadeus Mozart: Piano Sonatas Prague Piano Duo

• Wolfgang Amadeus Mozart (1756 - 1791), Rewritten by: Edvard Grieg (1843 - 1907): Mozart: Piano Sonata No. 5 in G Major, K. 283/K. 189h, EG 113d (Arr. for 2 Pianos by Edvard Grieg):
• 1Mozart: Piano Sonata No. 5 in G Major, K. 283/K. 189h, EG 113d: I. Allegro05:29
• 2Mozart: Piano Sonata No. 5 in G Major, K. 283/K. 189h, EG 113d: II. Andante06:40
• 3Mozart: Piano Sonata No. 5 in G Major, K. 283/K. 189h, EG 113d: III. Presto04:22
• Fantasia in C Minor, K. 475, EG 113b (Arr. for 2 Pianos by Edvard Grieg):
• 4Mozart: Fantasia in C Minor, K. 475, EG 113b: Adagio - Allegro - Andantino - Più allegro - Tempo I11:45
• Piano Sonata No. 14 in C Minor, K. 457, EG 113b (Arr. for 2 Pianos by Edvard Grieg):
• 5Mozart: Piano Sonata No. 14 in C Minor, K. 457, EG 113b: I. Molto allegro05:54
• 6Mozart: Piano Sonata No. 14 in C Minor, K. 457, EG 113b: II. Adagio08:19
• 7Mozart: Piano Sonata No. 14 in C Minor, K. 457, EG 113b: III. Allegro assai04:44
• 8Mozart: Piano Sonata No. 14 in C Minor, K. 457, EG 113b: I. Allegro in F Major07:42
• 9Mozart: Piano Sonata No. 14 in C Minor, K. 457, EG 113b: II. Andante in B-Flat Major06:56
• 10Mozart: Piano Sonata No. 14 in C Minor, K. 457, EG 113b: III. Rondo in F Major, K. 494 (EG 113a)06:10
• Piano Sonata No. 16 in C Major, K. 545 "For Beginners", EG 113c (Arr. for 2 Pianos by Edvard Grieg):
• 11Mozart: Piano Sonata No. 16 in C Major, K. 545 "For Beginners", EG 113c: I. Allegro04:11
• 12Mozart: Piano Sonata No. 16 in C Major, K. 545 "For Beginners", EG 113c: II. Andante05:10
• 13Mozart: Piano Sonata No. 16 in C Major, K. 545 "For Beginners", EG 113c: III. Rondo (Allegretto)01:42
• Total Runtime01:19:04

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It was for his friend the poet John Paulsen that Edvard Grieg, himself a virtuoso pianist, wrote a second piano part for four of Mozart’s most famous sonatas, now respecting the purity of their melodic line, now literally ‘orchestrating’ the original text. This curious work was judged at the time as pure vandalism, but Grieg, believing that his ‘recompositions’ had both pedagogical and musical virtues, made a copy which he sent to his publisher in 1877; he would later point out that its modernization “did not change a single one of Mozart’s notes”, but constituted “a way of showing his admiration for an old master”.

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