FROM ALBUM NOTES by Giacomo Fronzi:
In the history of reception and interpretation of piano music, Wolfgang Amadeus Mozart’s work (1756-1791) is one of the most troublesome for interpreters of every time and place. The reception of this music is inevitably intertwined with national music stories, the development of “indigenous” schools, the “historical” sensitivity of each culture (Italian, French, German, etc.). The hermeneutic tradition teaches us that this is the result of the intersection between different dimensions: time distance (Zeitenabstand), story of effects (Wirkungsgeschichte), consciousness of historical determination (Wirkungsgeschichte Bewusstsein) and fusion between different horizons (Horizontvermelschung). In this general framework it lies the specificity of reception and interpretation of the Mozartian piano production, that we can generally consider as characterized by two great orientations. The first is marked by a preference for the philological approach, whereby a certain degree of attention to the historical-cultural location of the work and its formal peculiarities leads to an interpretation that appears more rigorous, but is likely to be stiffened. […] (Translation by Pietro Carra)