All Mozart

A companion to Mostly Bach, pianist KaJeng WONG’s All Mozart contains five sonatas that present a multifaceted picture of Wolfgang Amadeus Mozart. Recorded live during a concert series devoted to the two composers, the selections are familiar parts of the repertoire that reward repeated visits. “This is where Bach and Mozart shine: There’s a deep subtlety to the simple notes,” the award-winning pianist tells Apple Music. Below, Wong explains the concept behind the album and his thoughts on performing Mozart. Talk us through your programme selection. “The five sonatas are brought together into a single unit. The programme begins with one early and one late sonata. Piano Sonata No. 5 in G Major is from Mozart’s early period, while No. 18 in D Major is the last one he wrote. Both of them conclude in an unsettled, intriguing fashion, as if there’s still more to say. From G we ascend to D before reaching the heart of the concert—No. 8 in A Minor, a highly tragic, dynamic, repetitive yet introspective work. “Then No. 12 in F Major answers the A Minor’s andante. Finally, we return to C Major—our last selection, No. 10, is naturally an answer to the first. In brief, that’s how the pieces are all related. Each of the five sonatas presents a different view of Mozart’s external image and internal emotions.” What’s distinctive about performing Mozart? “His works are collaborative presentations of theatrical or operatic stories. And while a sonata is pure music without an inherent script or story, at its core, all of Mozart’s music is opera. His music has to be expressed to an audience—a third party makes it more interesting.” Is the album title purely descriptive, or is there a deeper meaning? “The Bach album included a piece by Domenico Scarlatti, so I couldn’t call the concerts ‘All Bach, All Mozart’. There’s a festival in the United States called ‘Mostly Mozart’, so I jokingly picked the title ‘Mostly Bach, All Mozart’. But the apt pairing of ‘mostly’ and ‘all’ reminded me of the Chinese phrase 全心全意 [‘full heart and mind’, meaning ‘wholeheartedly’]. Using that in the Chinese title is a charming way of expressing the attitude required to perform the work of these two composers—you have to use your whole heart and mind. ‘Think with your heart, feel with your brain’ is a saying I once came across but never entirely understood. One day I hope I’ll grasp the true meaning of ‘full heart and mind’ as well.” Do you have a particular personal connection to any of the pieces? “Mozart’s Piano Sonata No. 12 in F Major is a piece I performed the first time I went to Europe for a masterclass, at the age of 16. I played No. 8 in A Minor while studying under Robert Levin in university. And I played No. 5 in G Major at the Rubinstein International Piano Master Competition. You know, these pieces are classics that I learned when I was just starting piano as a child. My favourite of the three is the F Major.”