Mozart: Piano Sonatas K. 310-311 & 330-333 Angela Hewitt

• Wolfgang Amadeus Mozart (1756 - 1791): Piano Sonata No. 9 in D Major, K. 311:
• 1 Mozart: Piano Sonata No. 9 in D Major, K. 311: I. Allegro con spirito 06:59
• 2 Mozart: Piano Sonata No. 9 in D Major, K. 311: II. Andante con espressione 05:27
• 3 Mozart: Piano Sonata No. 9 in D Major, K. 311: III. Rondo. Allegro 06:44
• 4 Mozart: Piano Sonata No. 8 in A Minor, K. 310: I. Allegro maestoso 08:52
• 5 Mozart: Piano Sonata No. 8 in A Minor, K. 310: II. Andante cantabile con espressione 09:31
• 6 Mozart: Piano Sonata No. 8 in A Minor, K. 310: III. Presto 03:16
• 7 Mozart: Piano Sonata No. 10 in C Major, K. 330: I. Allegro moderato 10:16
• 8 Mozart: Piano Sonata No. 10 in C Major, K. 330: II. Andante cantabile 06:18
• 9 Mozart: Piano Sonata No. 10 in C Major, K. 330: III. Allegretto 05:44
• Fantasia in C Minor, K. 396 (Arr. Stadler for Piano):
• 10 Mozart: Fantasia in C Minor, K. 396 (Arr. Stadler for Piano) 11:16
• Fantasia in D Minor, K. 397:
• 11 Mozart: Fantasia in D Minor, K. 397 06:06
• Piano Sonata No. 11 in A Major, K. 331:
• 12 Mozart: Piano Sonata No. 11 in A Major, K. 331: Ia. Theme. Andante grazioso 01:42
• 13 Mozart: Piano Sonata No. 11 in A Major, K. 331: Ib. Var. 1 01:38
• 14 Mozart: Piano Sonata No. 11 in A Major, K. 331: Ic. Var. 2 01:39
• 15 Mozart: Piano Sonata No. 11 in A Major, K. 331: Id. Var. 3 01:49
• 16 Mozart: Piano Sonata No. 11 in A Major, K. 331: Ie. Var. 4 01:39
• 17 Mozart: Piano Sonata No. 11 in A Major, K. 331: If. Var. 5 03:53
• 18 Mozart: Piano Sonata No. 11 in A Major, K. 331: Ig. Var. 6 01:24
• 19 Mozart: Piano Sonata No. 11 in A Major, K. 331: II. Menuetto - Trio - Menuetto da capo 06:07
• 20 Mozart: Piano Sonata No. 11 in A Major, K. 331: III. Alla Turca. Allegretto 03:45
• 21 Mozart: Piano Sonata No. 12 in F Major, K. 332: I. Allegro 10:49
• 22 Mozart: Piano Sonata No. 12 in F Major, K. 332: II. Adagio 04:53
• 23 Mozart: Piano Sonata No. 12 in F Major, K. 332: III. Allegro assai 07:55
• Piano Sonata No. 13 in B-Flat Major, K. 333:
• 24 Mozart: Piano Sonata No. 13 in B-Flat Major, K. 333: I. Allegro 10:49
• 25 Mozart: Piano Sonata No. 13 in B-Flat Major, K. 333: II. Andante cantabile 10:23
• 26 Mozart: Piano Sonata No. 13 in B-Flat Major, K. 333: III. Allegretto grazioso 06:47
• Total Runtime 02:35:41

Info for Mozart: Piano Sonatas K. 310-311 & 330-333

Angela Hewitt’s voyage of discovery through Mozart’s piano sonatas is proving a joy, the works sounding newly minted in vital, alert accounts which respect their scale and sensibility while revealing influences of Mozart’s orchestral and concerto writing of the period.

On 23 September 1777, at the age of twenty-one, Mozart left home for the first time without his father. Unhappy in Salzburg, he set out to find some steady employment. His only travelling companion was his mother. He was not to see his father again for sixteen months, and when he did finally return to Salzburg, tragically he was alone.

After spending time in Munich and Augsburg, Mozart and his mother arrived in Mannheim at the end of October. In those days, the Mannheim Orchestra was one of the most famous and innovative in Europe. The virtuosi who occupied its ranks were described by the English musician Charles Burney as being like ‘an army of generals’. Their playing came alive with big crescendi and diminuendi, and the wind section was given much more importance than ever before. Mozart failed to get a job there, but kept busy performing and teaching—most notably the soprano Aloysia Weber, then sixteen years old, with whom he promptly fell in love. He even put it to his father that perhaps he could accompany her to Italy to help her become a prima donna; needless to say, his father put an end to that far-fetched idea extremely quickly, and wrote to him: ‘Off with you to Paris!’

Before he left for France, however, he composed his Sonata in D major, K311. Its opening is not dissimilar to that of his previous D major sonata, K284. A sprightly allegro con spirito opens the work. Two characters engage in dialogue at the start—one questioning the other, and the whole thing ending in a clatter of repeated A major chords. A more lyrical, pleading theme then enters, but before long they’re at it again, the right hand crossing over the left and taking on the role of both characters. A noisy climax is followed by a descending figure in double sixths before the double bar, as if to say the whole argument didn’t really matter at all.

That sighing, descending figure (a typical Mannheim feature) then becomes the focus of the development section. It’s passed from hand to hand, from voice to voice, finally ending up together again in sixths. The other Mannheim ‘trick’ that appears in this movement is the reversed recapitulation, in which the opening theme only reappears in bar 99, almost at the end of the piece. Nothing in Mozart is done by the book. There are always surprises along the way. ...

Angela Hewitt, piano

Angela Hewitt
is a renowned pianist who is celebrated for her wide-ranging repertoire and acclaimed Bach performances. A frequent performer in Europe, the Americas, and Asia, she has built a reputation as one of Bach’s foremost interpreters, earning accolades for her award-winning recordings.

In March 2024, Hewitt began her latest major project, The Mozart Odyssey, performing all of Mozart’s piano concertos, first appearing with Pierre Bleuse and the Estonian National Symphony Orchestra. The project follows her acclaimed Bach “Odyssey” cycle (2016–2024), where she performed the composer’s complete keyboard works across 12 recitals. The Mozart project continues in 2024–2025 with performances in nine countries. Her conductor-led performances include the Brussels Philharmonic, the Royal Liverpool Philharmonic, the Warsaw Philharmonic Orchestra, the Fort Worth Symphony Orchestra, Canada’s National Arts Centre Orchestra, the Toronto and Vancouver Symphony orchestras, and the Ulster Orchestra, among others.

Hewitt maintains a busy recital schedule throughout 2024–2025, including concerts in New York City, Seoul, Toronto, Vienna, Rome, Milan, Utrecht, Bern, and Oxford, as well as her regular appearances at London’s Wigmore Hall. The season includes two return recital tours to Australia and Japan, including performances in Melbourne, Sydney, Adelaide, Tokyo, and Kyoto.

Hewitt’s award-winning cycle for Hyperion Records of Bach’s major keyboard works has been called “one of the record glories of our age” (The Sunday Times). Her discography also includes albums of Couperin, Rameau, Scarlatti, Mozart, Beethoven, Chopin, Schumann, Liszt, Fauré, Debussy, Chabrier, Ravel, Messiaen, and Granados. Her most recent recordings include the first two volumes of Mozart’s complete piano sonatas, with the final set due for release in 2025. In 2015, Gramophone magazine inducted her into its Hall of Fame.

Born in Ottawa to a musical family, Hewitt started playing piano at age three and first performed publicly at age four. She studied at the University of Ottawa with Jean-Paul Sévilla and won the 1985 International Bach Piano Competition in Toronto, launching her career. In 2006, Her Late Majesty Queen Elizabeth II made her an Officer of the British Empire. In 2015, she became a Companion of the Order of Canada, her native country’s highest civilian honour. Hewitt has seven honorary doctorates, is a member of the Royal Society of Canada, and was awarded the Wigmore Hall Medal in 2020 for her service to classical music and longstanding relationship with the venue.

Hewitt lives in London but also has homes in Ottawa and Umbria, Italy, where, 20 years ago, she founded the Trasimeno Music Festival—a week-long annual event drawing an audience from all over the world.

Angela Hewitt plays a Fazioli piano.

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