Mozart and Beethoven Piano Sonatas


Catalogue No: DDV 24147
EAN/UPC: 809730414725
Composers: ,
Release Date: February 2011
Genres: ,
Discs: 1
Total Playing Time: 76:06
Sample: Beethoven Sonata no 31 - 1st movement (extract)

These are very fine readings of major classical sonatas, by a British pianist Jill Crossland of increasing renown. Previously issued as Calico CCCR101, this recording attracted much acclaim from critics, and is now available at mid price.

Track Listing

    Wolfgang Amadeus Mozart:

  1. I. Piano Sonata in F major, K.533/494 – I. Allegro (8:13)
  2. II. Piano Sonata in F major, K.533/494 – II. Andante (10:37)
  3. III. Piano Sonata in F major, K.533/494 – III. Rondo: Allegretto (6:55)
  4. Ludwig van Beethoven:

  5. I. Piano Sonata No. 17 in D minor, Op. 31/2 (“Tempest”) – I. Largo – Allegro (10:23)
  6. II. Piano Sonata No. 17 in D minor, Op. 31/2 (“Tempest”) – II. Adagio (9:04)
  7. III. Piano Sonata No. 17 in D minor, Op. 31/2 (“Tempest”) – III. Allegretto (8:29)
  8. Ludwig van Beethoven:

  9. I. Piano Sonata No. 31 in A flat, Op. 110 – I. Moderato cantabile-molto espressivo (7:35)
  10. II. Piano Sonata No. 31 in A flat, Op. 110 – II. Allegro molto (2:19)
  11. III. Piano Sonata No. 31 in A flat, Op. 110 – III. Adagio ma non troppo (3:55)
  12. IV. Piano Sonata No. 31 in A flat, Op. 110 – IV. Fuga: Allegro ma non troppo (3:23)
  13. V. Piano Sonata No. 31 in A flat, Op. 110 – V. L’istesso tempo di Arioso (2:48)
  14. VI. Piano Sonata No. 31 in A flat, Op. 110 – VI. L’istesso tempo della Fuga (2:25)


MusicWeb International

The more I listen, the more I like these interpretations.. I like Crossland’s sincere lyrical approach and would definitely love to hear this program from her in the concert hall. After a few listenings, I came under the spell. On the whole, this is a consistent and well thought-out recital.

” —Oleg Ledeniov

Elegant, thoughtful, individual without being outré, and exceedingly musical throughout. I enjoyed this disc repeatedly and each time through, found new things to make me go all slack-jawed at their beauty and their rightness. One realizes that Crossland thinks closely about formal architecture in a credible and insightful way. This is a marvellous recital and I cannot recommend it highly enough.

” —Scott Morrison
Music And Vision

Direct, pleasingly gracious account of the Mozart. Beethoven performances are ruminative and clearly considered … I found my attention firmly held by this pianist’s musical individuality. [In the Op. 110] her attention to its structure, notably in the fuga and arioso, is unwavering. Additionally she compels our attention with an iron-clad sense of purpose and dynamically nuanced phrasing until the glorious, sonorous closing bars. Her cognizance of Beethoven’s ineffable legacy is moving indeed. her instinctive artistry, warm musicianship, and established appeal to live, listening or viewing audiences appears beyond question, now and in the future.

” —Howard Smith
Penguin Guide To Compact Discs

A highly individual player, thoughtful yet compelling, she has the gift of spontaneity in the recording studio, to carry the personal insights of her interpretations, as at a live performance. She is very well recorded.

” —Ivan March
Classical Source

[Crossland’s] overall approach to these works might be described as ‘classically inclined’, with clear definition of inner parts and exemplary articulation of melodic lines. Altogether, this is a recital that engages the listener’s attention and is played with evident and commendable integrity.

” —Timothy Ball
American Record Guide

[Crossland] chooses a modern Steinway for this recording. Still she shows much of the thoughtful concern over details the learned school values so highly. I found myself praising the pianist’s sincerity and attention to detail.


Crossland’s clean fingerwork and her ability to play off the exchange of passagework between right and left hands with exceptional clarity serve Mozart well. [In the Tempest Sonata] Crossland may actually closer to the mark in adopting a significantly slower tempo than we’ve grown accustomed to. [In Sonata No. 31] Crossland delivers some very lyrical expressive playing.

” —Jerry Dubins