The 40 year-old Italian, known by his commitment for the pedal piano, has made another attempt to slip into his play anything which could be found in Mozart’s statements passed on to us, in autographs and first editions and in our knowledge upon historical performance practices and instruments.
And that lead him to a performance which sets, more uncomprimisingly than all his spiritual predecessors, on sensible articulation and phrasing, colourfulness, agility and flexibility.
However, the instrument he chose was not a historical fortepiano, but a Fazioli grand piano from 2015, delicately tuned in one of the historical unequal temperaments, which allowed him to realize amazingly well Mozart’s piano writing in a lean way, with an extreme richness of nuances and a soft piano down to a breathed-like pianissimo.
Thus, he realized an interpretation of these 6 works of the Salzburg teenager which is free from professoral or historicizing rigidity, but still less from the smart ‘modern’ one-track-ideology with which Mozart can still often be heard.
On the contrary, I have the impression that, here, it has been succeeded to convey the whole musical wealth of these Sonatas more lively and more powerfully than ever.
Prosseda always remains close to the text, but presents it by a colour palette applied in an excitingly imaginative way and constantly opening new perspectives:
A recording which has to become a new reference.