Juxtaposing early and late sonatas reveals just how much Leopold Kozeluch’s style changed over a thirty-year period. The three early sonatas from the 1770s, though harmonically modest, fizz with Rococo charm and elegance. The late sonatas meanwhile were intended for a fortepiano, which had eclipsed the harpsichord, and are twomovement works. They feature bustling rondos and deft janissary devices, one of which is the buzzing effect generated by a knee lever on the original 1815 Johann Fritz instrument used in this recording.
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