For ensemble rapport and technical flexibility alone, violinist Jean-François Rivest and his fortepianist accomplice David Breitman arguably dominate the Mozart sonata period-instrument recording short list. They get impressive timbral mileage out of their respective instruments (a 1975 replica of a 1790 Anton Walter fortepiano, and a Mathias Albanus, Buliani violin, circa 1680): You can tell from the striking coloration and dynamic shadings in the unison passages of the Rondeau of the K. 302 E-flat sonata and the first movement of the K. 305 A major sonata. Note also how naturally the two players move back and forth between the tempo extremes of the K. 303 C major sonata’s first movement, replete with subtle rhythmic inflections that convey palpable tension and release.
The big D major K. 306 and B-flat K. 454 sonatas particularly benefit from the way Breitman prevents Mozart’s Alberti-bass left-hand accompaniments from falling into square, cookie-cutter phrases. Rivest’s sixth sense for when to assert himself and when to pull back also helps keep the textures alive and interesting. He does this even when playing slow, sustained accompanying lines that many violinists don’t even bother to practice (the C major K. 296 sonata’s middle movement). My only critical nit-pick concerns occasional ritards at phrase endings and cultivated diminuendos that sound a bit studied and precious. Analekta’s vibrant sonics (almost in a class with the alluring Seiler/van Immerseel Mozart release on Zig Zag) and excellent annotations are a big plus. [3/24/2005]
