Anthony Goldstone has no inhibitions about “Unheard Mozart”, piano pieces that have been unheard because Mozart hadn’t completed them. Goldstone has developed and expanded beginnings or fragments that, in the words of Julian Rushton, had been “put away in the certainty that if the need arose he could finish them later; what was already written, the exposition of ideas, would act as a mnemonic”.
Finishing Mozart needn’t be a sacrilegious act, as may be heard in the small pieces, particularly the Praeludium in C major. Doubts surface about the large forms, the Sonatas in F major and G minor. Goldstone’s editions are prolix, burdened by padding that deflects attention. Nor is his playing – matter-of-fact in the Minuet K34 and Gigue in C minor – always sympathetic to his best creative efforts. When it is, as in the Fantasia K397 with his own ending, he makes for very absorbing listening. But the unevenness of inspiration in Mozart’s uncompleted material suggests that if some ideas could act as a mnemonic, others might simply have been abandoned because they had not reached the standards he expected of himself