It is curious that violinist
Dmitry Sitkovetsky, on a multi-volume project to record the Mozart sonatas for piano and violin, would choose to switch pianists mid-stream. Vol. 1 featured pianist
Antonio Pappano, whose playing was proficient but overly relegated to the background. On Vol. 2,
Sitkovetsky teams up with pianist
Konstantin Lifschitz. Here, the perceived importance of both instruments comes across as much more equal.
Lifschitz's playing is something of an enigma, however. When serving in a wholly accompanimental capacity, his playing is unduly sterile, detached, and rigid; when playing by himself, though,
Lifschitz's touch is much more warm and elegant.
Sitkovetsky again proves himself to be a technically gifted performer, almost always delivering solid intonation (some of his chords fall a little flat), clear tone and articulation, and vibrant dynamics. As in Vol. 1, his approach to Mozart remains on the Romanticized, almost angular, end of the spectrum. While this approach will be welcome by some listeners, those who prefer Mozart with a little less edge and a little more warmth may find
Sitkovetsky's sometimes forceful and aggressive playing and bright sound quality off-putting.