Related Reviews
Audiophile Audition
4 Stars
'Excellent, wonderfully well-recorded late Haydn from Gottlieb Wallisch. Recommended.'
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BBC Music Magazine
'His (Wallisch) technique and touch are immaculate, his tempos are judicious, and, without over-emphasis or eccentricity, he always phrases meaningfully…'
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Fanfare
'On this warmly recorded new disc, Gottlieb Wallisch takes up the so-called "London" sonatas...The best known is the Sonata in Eb, No. 62. That is a grand work, and Wallisch plays it that way, with sudden intensities and a wide dynamic range.'
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Pizzicato
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'outstanding new release'
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Tristan Chord Blog
'Gottleib Wallisch…plays with great clarity and articulation…the sound quality is outstanding.'
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SA-CD.net
5 Stars
'…the pianist shows himself to be in total sympathy with the style of the music and able to convey its qualities to the listener…The recording, produced and engineered by Philip Hobbs is first class.'
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BBC Radio 3 'CD Review'
'The Sonata in D Major there, performed with straight-forward enjoyment by Gottlieb Wallisch who seems to relish this miniature sonatas quirks just as much as the broader rewards of its near neighbours in London. He’s been given a good recording as well, plenty of space but an appropriately intimate perspective.'
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Gottlieb Wallisch - Haydn: The London Sonatas - All Music


27 June 2014
All Music
James Manheim

Austrian pianist Gottlieb Wallisch has recorded several albums of Mozart's keyboard music whose reception has covered a wide range of reactions. The situation will probably be similar with this recording of Haydn's so-called London sonatas, composed during his trips to London in the mid-1790s. (Actually the final work, the Piano Sonata No. 59 in E flat major, Hob. 16/49, was composed before his departure from Vienna but is similar in style and has certain other links to the later pieces.) These are big works that, astonishingly considering Haydn's age, look forward not only to Beethoven but beyond. The two-movement Piano Sonata No. 61 in D major, Hob. 16/51, has, usually, a quiet pastoral lyricism that brings Schubert to mind. It's not pastoral at all in Wallisch's reading, which is full of tense accents and large dynamic contrasts that would have been impossible on a piano of Haydn's time (he uses a modern Steinway). The larger, symphonic Piano Sonata No. 62 in E flat major, Hob. 16/52, seems a bit more idiomatic here, and the opening Piano Sonata No. 60 in C major, Hob. 16/59, already a humorous work full of brusque surprises, simply gets a few more of them in Wallisch's reading. It's easy to see why some listeners value Wallisch's playing: he's got an unusually accurate, ringing tone that is beautifully captured here by Linn's engineers. 
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