Like Stein’s fortepianos, the copy of a Walter and sons (a Viennese fortepiano once owned by Mozart) played here by Maxim Emelyanychev is equipped with a knee lever, the ancestor of the damper pedal. No doubt Mozart was inspired by the timbres, the dynamic and harmonic possibilities of this new instrument: the Fantasia in C minor that starts off this album highlights this orchestral − almost operatic − range, and in its profusion of themes, it express the most prominent contrasts, reaching great expressive density. The same accents can be found in Piano Sonata No. 14 in C minor, K. 457, while the Piano Sonata No. 16 in C major, K. 545 offers a dramatic respite. This “small sonata for beginners” was composed in 1788, preceding the “Jupiter” Symphony, also in C major: a beautiful gem, coming just before his monumental work. Its innocent melody revives childhood memories of the first piano lessons. Finally, the Piano Sonata No. 18 in D major, K. 576 was created as the first part in a cycle: “Six easy piano sonatas for Princess Friederike”. Composed in 1789, and in fact considered to be of great difficulty, it was Mozart’s last sonata. Anton Walter, the piano maker, started making a name for himself in Vienna in 1778. Like most inventors, he never stopped experimenting: while other workshops produced pianos at scale, Walter kept looking for “his ideal”; each instrument differed from the previous one in numerous details and ever-bolder additions. In total, he built around seven hundred instruments; here, Emelyanychev plays on a copy made by Paul McNulty, a great specialist of fortepianos and ancient pianos, with experience in manufacturing close to two hundred copies of instruments from Stein, Walter, Hofman, Graf and Pleyel. © SM/Qobuz