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Notes and Editorial Reviews
Stallman has a seamless continuity of breath and a bright, clear tone that sparkles like a field of stars against the canopy spread for it by the harpsichord. Execution is both effortless and stylish. Swanborn’s playing, too, is a real delight. He varies the colors of his 1982 William Dowd harpsichord (courtesy of James Nicholson of Boston) with imaginative but judicious application of the instrument’s stops. In particular, I really like the sound of the lute stop (I’m guessing that’s what it is) in the Adagio of the G-Minor Sonata and again in the Andante of the B-Minor Sonata.
Obviously, competition in this repertoire is fierce. Recordings of all these works can be found in at least double-digit numbers. But in addition to
the exceptional playing by Stallman and Swanborn, this new Bogner’s Café release has something else going for it. It’s what you might call a state-of-the-art audiophile recording, engineered by Brian C. Peters using minimalist microphone technique and the Oasis ultra-fidelity single-speed glass mastering system. I don’t know what that is, but the results are astonishingly lifelike. In every respect, this is a sensational disc and urgently recommended.
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Works on This Recording
Average Customer Review: ( 1 Customer Review )
Superb! February 23, 2013
By Michel F. See All My Reviews
"Robert Stallman plays Mozart with great clarity and timing, allowing me to enjoy these Sonatas more than I've ever done before."