There is an Amazon.com review (on Annie Fischer's Complete Beethoven Sonatas) which says Geiseking's Mozart are all "faceless and anonymous". As I haven't actually finished listening them all, I am really in no position to make any comment on that.

After having heard more than half of them, my first impression is, his playing is very disciplined, yet there is a lot of grace and style. But contrary to what one may expect, Geiseking could be surprisingly slow in tempo at times. Yes, he could be poetic too, but he seldom swings. His 511, for instance, could perhaps be a little more poetic. His left hand, perhaps rightly so for Mozart, never thunders. But when the drama of the music requires so, it could be very explosive. Otherwise, his left hand is always at least one step down if not two, be it harmonic or polyphonic.

I don't refer to Geiseking's Mozart that often as I like his Songs Without Words better, and I like his Debussy even more. One final word on the recording. For recording of the 50's with such a label concerning an artist of his stature, I'm afraid the sound quality is slightly below average. All in all, I expect the price of these historic recordings to come down a little bit for the benefit of all Mozart lovers.

These interpretations of Mozart have been part of my library since I was 14, back in the 70's. Originally issued by Angel in the mid 50's, they were rereleased on Seraphim, which was then the budget label for Angel.

Listening to these recordings, one cannot help but notice the attention Gieseking gives to the steady timing. He does not take the liberties that other pianists have been known to take with some music of this era.

Is it any wonder that some musical purists consider these interpretations seminal? These CD's are a worthy addition to any classical library (although I can't help but reminisce about the fact that I paid $27.39 for the 11 record set when I bought it almost 30 years ago).

While his piano sonatas and variation works are often recorded, I tend to have the most fun in playing the lesser known works that often give the most direct view on Mozart's genius. Looking through the catalogue I had little doubt that Gieseking's collection would give me the most bang for the buck (check out the German Amazon site) and good old Walter did not disappoint.

In old mono recordings that are noisy, lack soundstage, yet sound surprisingly well, Gieseking offers us an almost complete edition of all Mozart's works for solo piano. His style that can best be described as clear, cool and very precise, approaches Mozart from a decidedly non-romantic, non-neurotic perspective. In short: a perfect Uchida antidote.

Giesekings tempos in the Sonatas tend to be at the high side, but his exemplary technique -what a left hand!- prevents the interpretations from ever sounding stressed. Although I can pick some instances where a little more involvement could have paid off, e.g. in the small funeral march KV 453a or in the c-minor Fantasie KV 396, one of Goulds rare Mozart miracles, the playing throughout is exemplary.

All those who claim that Gieseking would be too cold only need to listen to this version of the great a-minor sonata KV310. While it clearly stays within the boundaries of classicism it is on par with Lipatti's version in delivering a direct and profound dramatic statement.

This classic has been in the catalogue for 50 years and for many more to come. I hope that more of Gieseking's Bach performances will find their way to the cd, since the clarity and drive that his Mozart interpretations exude must have resulted in some great Bach.