Piano, Harpsichord & Fortepiano

Kristian Bezuidenhout

“Above all, Bezuidenhout knows how to make a fortepiano sing.”
★★★★★ Kate Molleson, The Guardian, 14 January 2016  

Credit: Marco Borggreve


Kristian Bezuidenhout is one of today’s most notable and exciting keyboard artists, equally at home on the fortepiano, harpsichord, and modern piano. Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music, and now lives in London. After initial training as a pianist, he explored early keyboards, continuo playing and performance practice. Kristian first gained international recognition at the age of 21 after winning the prestigious first prize, and audience prize in the Bruges Fortepiano Competition.
Kristian is a regular guest with the world’s leading ensembles including the Freiburger Barockorchester, Les Arts Florissants, Orchestra of the Age of Enlightenment, Orchestre des Champs Elysées, Chicago Symphony Orchestra and the Leipzig Gewandhausorchester; and has guest-directed (from the keyboard) the English Concert, Orchestra of the Eighteenth Century, Tafelmusik, Collegium Vocale, Juilliard 415, Kammerakademie Potsdam and Dunedin Consort (St Matthew Passion).
He has performed with celebrated artists including John Eliot Gardiner, Philippe Herreweghe, Frans Brüggen, Trevor Pinnock, Giovanni Antonini, Isabelle Faust, Alina Ibragimova, Rachel Podger, Carolyn Sampson, Anne Sofie von Otter and Mark Padmore.
Kristian’s rich and award-winning discography on Harmonia Mundi includes the complete keyboard music of Mozart and Mendelssohn and Mozart Piano Concertos with the Freiburger Barockorchester. In 2013 he was nominated as Gramophone Magazine’s Artist of the Year. Recent releases include Volume 2 of Mozart Piano Concertos with the Freiburger Barockorchester.
In the 2017/18 season, Kristian becomes an Artistic Director of the Freiburger Barockorchester and Principal Guest Director with the English Concert. As a soloist he performs with Orchestre des Champs Elysees/Herreweghe, and Les Violons du Roy/Cohen. Solo recitals and chamber music take him to London, Rome, Amsterdam, Stuttgart, Munich, Cologne, Berlin, USA and Japan.


Performance Schedule

From The Green Room


  • 13 Jan 18 Bach: Sonatas for Violin and Keyboard
    BBC Radio 3 Record Review; Disc of the Week
    More info  

    “Little miracles of ensemble and understanding throughout”.

    Andrew McGregor

  • 22 Oct 17
    Wigmore Hall
    More info  

    “Bezuidenhout has added immeasurably to the richness of the Wigmore Hall’s programming with his regular presence here. His recital last year devoted entirely to Beethoven songs with the baritone Matthias Goerne was a revelation…Two masterpieces followed after interval, Haydn’s Andante con variazioni in F minor and Beethoven’s Pathétique Sonata, and Bezuidenhout shed new light on both. After episodes of nimble-fingered virtuosity, when he arrived at Haydn’s harmonically adventurous ending it was striking how he used the old instrument to underline the music’s modernity.”

    Telegraph 22 Oct 2017

  • 18 May 17 Early Mozart Keyboard Concertos
    Wigmore Hall
    More info  

    “And delightful it all was too, partly because the performer at the harpsichord was Kristian Bezuidenhout, a musician who could probably conjure sweet music from a piece of dry toast. Harpsichords being shy creatures, you had to listen closely to spot him twinkling away among Mozart’s orchestral foliage. However, Page’s musicians played so well and the foliage was of such interest — harbingers of the full bloom to come — that only a fool would complain. ★★★★
    Geoff Brown, The Times, 18 May 2017

    “…both harpsichord and accompaniment had settled into a glorious conversational balance. Both parried the other with joie de vivre… Bezuidenhout’s cadenzas were as flamboyant and sparkling.” ★★★★
    Olivia Bell, Bach Track 18 May 2017

  • 08 Dec 16 MOZART Piano Concerto Nos 20 & 22
    With the Scottish Chamber Orchestra
    More info  

    “But the night, ultimately, belonged to Bezuidenhout for his stupendously needle-sharp characterisations of Mozart, through the subversively-pulsing rhythm of the great K466 D minor Concerto and the near-serene perfection of the E flat Concerto K482, each with the SCO welded to the discreet direction of the soloist.”
    Michael Tumelty, The Herald Scotland, 11 December 2016 

  • 28 Oct 16 Recital 28 October 2016
    Boston Early Music Festival
    More info  

    “..high-minded, beautifully essayed and very thoughtful appearance.  Bezuidenhout’s singular, elegant artistry thoroughly engaged our ears and minds.”
    John Elrich, The Boston Musical Intelligencer, 31 October 2016 

  • 27 Oct 16 Recital 26 October 2016
    Library of Congress
    More info  

    “Bezuidenhout starts making music the moment his fingers touch the keyboard. Two youthful Beethoven Rondos, Op. 51 displayed the silvery singing quality of the fortepiano, in this case a replica by Thomas and Barbara Wolf of an instrument built by Schanz about 1800. The lithe D Major Sonata, Op. 10, No. 3 overflowed with Beethoven’s inimitable sense of humor, occasionally subtle but more often in your face, surrounding a slow movement of deep seriousness.”
    Patrick Rucker, The Washington Post, 27 October 2017

  • 01 Aug 16 Mozart Mozart Piano Concertos No.11-13
    With the Freiburger Barockorchester
    More info  

    “Kristian Bezuidenhout is an imaginative and engaging soloist, getting a variety of colours from his fortepiano.”
    Richard Fairman, Financial Times, 26 August 2016 

  • 28 Jun 16 BEETHOVEN Duo recital 27 June 2016
    With Matthias Goerne, Wigmore Hall
    More info  

    “Currently on fine form, Goerne sang with fine lyrical warmth. Beethoven could be notoriously unkind to singers and the vast span of Die Ehre Gottes aus der Natur pushed him a bit in his upper registers. But elsewhere, lines were immaculately sustained and shaped, texts subtly nuanced. Adelaide was breathtaking. An die ferne Geliebte brought with it a wonderful range of muted vocal colour. Playing a copy of an 1824 fortepiano, Bezuidenhout emphasised the sparse yet emotionally telling quality of Beethoven’s piano writing. A beautiful, thoughtful and thought-provoking evening.”
    Tim Ashley, The Guardian, 28 June 2016 

    “… an intense, impassioned evening in which Kristian Bezuidenhout’s fortepiano was as revelatory as Matthias Goerne’s baritone. For those who know Beethoven’s songs in the Fischer-Dieskau / Demus recording, it will have come as no surprise that the fortepiano blends wonderfully with the bass-baritone voice, but this recital made it seem as though there really was no other way to present these touching, melancholy and deeply reflective songs… Bezuidenhout’s playing of the feather-light accompaniment to these lines was a joy.”
    Melanie Eskenazi, Music OHM, 28 June 2016

  • 12 Apr 16 Bach Duo recital 12 April 2016
    With Isabelle Faust, Wigmore Hall
    More info  

    “The singing lines of the mellow third sonata in E were especially finely achieved, but the panache and lightness of the sixth sonata in G, in which the harpsichord has a fully formed and extended solo, was a constant reminder that dance is never far away in a set of Bach sonatas that require precisely the partnership of equals that these players provided.”
    ★   ★   ★   ★   ★   Martin Kettle, The Guardian, 13 April 2016 

  • 04 Mar 16 Concert 04 March 2016
    With Boston Baroque, Jordan Hall
    More info  

    ” Where in the first movement the orchestra was earnest, Bezuidenhout was mischievous, hopscotching  through the initial falling motif and improvising a searching cadenza. In the hymn-like Adagio, he tamed the orchestra’s ominous outbursts, much the way the piano does in the Andante of Beethoven’s Fourth, but then he dashed away cheekily in the Rondo finale.”
    Martin Pearlman, Boston Globe, 5 March 2016 

    “Bezuidenhout chose to improvise his own cadenza, alternating introspective musings on thematic material with dizzying virtuosic display. The second movement, Adagio, offered a different kind of virtuosity: the ornamentation of a singing line with complex arabesques while maintaining melodic coherence throughout.”
    Virginia Newes, The Boston Musical Intelligencer, 6 March 2016 

  • 17 Feb 16 Concert 06 February 2016
    First Congregational Church of Berkeley
    More info  

    With the Philharmonia Baroque Orchestra

    “Throughout this 23rd Piano Concerto, the delicate sonority of the fortepiano, as opposed to the fuller, larger sonority of the modern piano,  offered us the opportunity to hear this work the way it would have sounded in Mozart’s day; and Kristian Bezuidenhout gave us a brilliant,  memorable performance.”
    James Roy MacBean, The Berkeley Daily PLanet, 16 February 2016 

    “Throughout this 23rd Piano Concerto, the delicate sonority of the fortepiano, as opposed to the fuller, larger sonority of the modern piano,  offered us the opportunity to hear this work the way it would have sounded in Mozart’s day; and Kristian Bezuidenhout gave us a brilliant,  memorable performance.”
    James Roy MacBean, The Berkeley Daily PLanet, 16 February 2016 

  • 05 Feb 16 Concert 05 February 2016
    With the Philharmonia Baroque Orchestra, Herbst Theatre
    More info  

    “Bezuidenhout’s presence at the keyboard was almost like the still center of the universe. The result was familiar Mozart given an alternative  reading that rose to a new height through a well-calculated disposition of understatement.”
    Stephen Smoliar, Examiner.com 6 February 2016 

  • 12 Jan 16 Concert 08 January 2016
    Wigmore Hall
    More info  

    “….It was in fact a fortepiano, a species sometimes considered a clattering relic of history. Yet in the hands of Kristian Bezuidenhout, soloist and director of this English Concert evening, the beautiful, modern
    reproduction he played didn’t clatter at all. Quickly responsive to infinite degrees of touch, it sang nobly and firmly, whispered sweet nothings, pranced like a pixie, or dazzled us with filigree lace.”

    ★   ★   ★   ★   ★   Geoff Brown, The Times, 12 January 2016 

    “Mozart’s Symphony No. 15 (1772) is delightful … Bezuidenhout’s take is that the opening Allegro has a definite “con brio” appended to it. Breezy yet with a nicely gentile contrasting section in the exposition and an effective chain of suspensions later on, the first movement certainly invigorated…”
    Colin Clarke, Seen and Heard International, 10 January 2016 

  • 08 Jan 16 MOZART CD Recording Keyboard Music Vol 8&9
    Harmonia Mundi
    More info  

    “Articulation sparkles and ornaments are neat; slow movements sing like arias and he has fun giving weight to the Rondo themes; virtuosity buzzes under the surface but never becomes the focal point. On his modern keyboard – a Czech copy of an 1805 Viennese instrument – the sound is sweet, nutty and declamatory. Above all, Bezuidenhout knows how to make a fortepiano sing.”
    ★★★★★ Kate Molleson, The Guardian, 14 January 2016  

    “Mr. Bezuidenhout gives articulate and sensitive performances of the charming early Sonata in F (K. 280) and the elaborate late Sonata in D (K. 576). There are wonderful accounts of three sets of variations, as well as the Suite in C (K. 399), a piece clearly inspired by Handel. My favorite is the astounding little Gigue in G (K. 574), a minute and a half of ingeniously intricate yet coyly playful counterpoint.”
    Anthony Tommasini, New York Times, 16 December 2015 

    “Bezuidenhout is a great fortepiano player, he really understands what the different construction and string layout means for timbre and sustain, and has exceptional command of tone and color in all registers (one of the charms of the instrument is that the sound varies depending on how hight or low the pitch is). He is also a great Mozart player.” Recording of the Week
    George Grella, The Big City Blog, 16 March 2016 

    “Kristian Bezuidenhout has staked a claim to an important and well-known swath of the canonic repertory and made it entirely his own. The music he so happily interprets (or perhaps “inhabits” is the correct word) is the piano music of Mozart, played on modern replicas of instruments that the composer would have recognized.”
    Tom Huizenga & Patrick Rucker, The Washington Post, 01 April 2016 

    “These two volumes are well programmed with plenty of contrasting pieces that make listening through their entirety highly enjoyable. The familiar Sonata in C Major K545 opens the set and is striking for the degree of clarity and articulation Bezuidenhout is able to express at this keyboard. He plays the Gigue in G Major K574 with an incisive angularity applied to both the rhythmic patterns and the intervallic leaps that must have delighted Mozart in writing them”
    The Whole Note, April 2016 

    “With him at the wheel, lively wit – so much more readily at hand with a fortepiano and its quicksilver, pebbly short notes – comes to the fore aplenty. Perhaps said second volume, packed with favorites, is the better place to start, but what a way to finish this cycle, this is!”
    Jens F. Laurson, Forbesm 9 March 2016 

  • 19 Oct 15 Schubert
    With Mark Padmore at Alice Tully Hall
    More info  

    “Die Schöne Müllerin”, “Schwanengesang” & “Winterreise”, 14 15 & 17 October 2015

    “Bezuidenhout, the fortepianist, was a revelation as a lieder accompanist. It’s not easy to steal the stage from the singer in this cycle, and he nearly did, though not by showing up his partner or drawing extra attention to his part. Throughout the evening his articulations were precise and his textures rich; at times, his playing seemed to show a greater range of color than Padmore’s singing.  But a good accompanist has to fly under the radar somewhat, and so it was Bezuidenhout’s subtlest gestures that added the most to the collaboration. He paid particular attention to the echoes of “Das Wandern” that are sprinkled throughout the cycle, such as in the opening chords of “Die böse Farbe.” The second stanza of “Die liebe Farbe” was ever so slightly more insistent than the first, and in the closing bars of “Trockne Blumen” he executed a gradual shift of color as he moved down the keyboard, vividly describing the mill-worker’s fate.”
    New York Classical Review, 15 October 2015 

    “Mr. Bezuidenhout described the instrument as the concert grand of Schubert’s day and praised its “singing tone,” although his refined playing surely enhanced that quality. In passages where the piano evokes gurgling waters or howling winds through rustling broken-chord figures, Mr. Bezuidenhout drew hazy streams of sound from the fortepiano. Over all, he played with captivating spontaneity while following Mr. Padmore’s every expressive turn.”
    Antony Tommasini, The New York Times, 18 October 2015 

    “In a brief introduction to his Tully Hall recital on Thursday, October 15, the tenor Mark Padmore remarked that the sense of longing encompassed by the German Sehnsucht — a word that defies easy translation — provided the link between the evening’s pair of cycles by Schubert and Beethoven, performed with keyboard partner Kristian Bezuidenhout. […] The term recital sounds too coldly objective. Certainly it fails to do justice to the sense they achieved of a “through-composed” emotional journey, without the benefit of staging or design elements: Gesamtkunstwerk of music and poetry on an intimate scale….”
    Thomas May, Musical America, October 2015 

    “With artists as intrepid and lucid as  Padmore and Bezuidenhout, Schubert’s art of the song proved to be an specially revealing vehicle for exploring the intersections of text, heightened speech, and the musical translation of feelings.”
    Thomas May, Thomas May, 19 October 2015 19 October 2015 

  • 05 Oct 15 Recital 30 October 2015
    Wigmore Hall
    More info  

    “Best were the closing four late Schubert songs to poems by Seidl, where emotional depth was communicated with a lightly-spoken ease. The encore, Schubert’s “Die Taubenpost” (another Seidl song), rippled a near-heavenly warmth in the accompaniment. With due respect to Padmore, this was the fortepiano’s evening.”
    Financial Times 

  • 09 Sep 15 Mozart Piano Concerto No. 20 in D minor, K 466
    Australian Brandenburg Orchestra, City Recital Hall
    More info  

    “This was Mozart under the microscope, played with tiny details: exquisitely crafted phrasing, subtle shading and a lightness of touch. Rather than simply turning up the volume, Bezuidenhout used a tasteful rubato to place a climactic chord or highlight a significant transition. It’s a level of artifice which, paradoxically, made the music sound effortlessly spontaneous, like it was being made up on the spot.”
    Harriet Cunningham, Sydney Morning Herald, 10 September 2015

    “Bezuidenhout’s own solo turn in the Piano Concerto No 20 was notable for its refined delicacy, astute timbral variety and the way his crystalline passagework sparkled as much as the subdued colours of his instrument would allow.”
    Murray Black, The Australian, 11 September 2015 

    “The melodic phrasing of the music making for the program ‘Mozart’s Fortepiano’ conducted and played with great dexterity by Kristian Bezuidenhout was effortlessly elegant, highly expressive and shining with subtlety.”
    Carolyn McDowall, The Culture Concept Circle, 15 September 

    “The first movement had a strong, emphatic opening from the Orchestra and Bezuidenhout’s impassioned playing was sparkling, rippling and luminous.  The second movement was a teasing dialogue between piano and orchestra, the piano cascading and shimmering.”
    Lynne Lancaster, Sydney Arts Guide, 14 September 2015

    “The loudest cheer of the night greeted Bezuidenhout’s dazzling performance of the D minor Mozart concerto with its brilliant cadenzas improvised on the spot. The virtuoso’s speed and lightness of touch was matched by his attention to every nuance in the orchestral writing.”
    Steve Moffatt, Manly Daily/Saily Telegraph, 11 September 2015 

  • 12 Mar 15 MOZART Recital
    Vancouver Recital, 8 March 2015
    More info  

    “The opening piece Sonata in E flat major, K. 282 was immediately bewitching. It drew the listener into a conversation as if between friends, regretful but not bitter. The latter movements displayed Mozart’s typical music box charm leavened with a cheeky humour and sparkle…Expressive and reflective [Mozart Rondo in A minor K511], each iteration of the theme deepens the mood and is so inventive, like the siren’s song, the listener longs to hear more. Sensitive and nuanced in touch, bold in dynamics and tempo, deeply emotional, this was a performance to remember.”

  • 01 Feb 15 MOZART CD Recording, Keyboard Music Vol 5&6
    Harmonia Mundi
    More info  

    “He’s a remarkable virtuoso, and a dazzlingly imaginative, multi-skilled Mozartian.”
    Max Loppert, BBC Music Magazine, February 2015

    Hearing the discs themselves, one can hardly take one’s ears off the performances because they go so farinside the music and reverse much of what you thought you knew.
    Gramophone ‘Editors Choice’, February 2015

  • 01 Jan 15 MOZART CD Recording Keyboard Music Vol 7
    Harmonia Mundi
    More info  

    “Kristian Bezuidenhout’s latest Mozart piano album has a peacock flourish about it. That’s partly due to the instrument, a
    modern reproduction of an 1805 fortepiano. The crisp attack and variety of tone are exceptional. Then there’s Bezuidenhout’s
    ornate artistry in sonatas K284 and K310 and two variations sets: one particular keyboard sweep got my spine shivering. Put
    instrument and artist together, though, and you have a perfect example of “going at it hammer and tongs”…”
    Geoff Brown, The Times 20 February 2015 

  • 23 Apr 14 Mozart Sonatas
    Recording for Harmonia Mundi
    More info  

    “Kristian Bezuidenhout offers joyous, deeply expressive readings of a selection of Mozart’s keyboard music, including the Sonatas K. 331, K. 282 and K. 309; the 12 Variations on “Ah, vous dirai-je Maman” and the Adagio in F. Mr. Bezuidenhout performs on a fortepiano, the predecessor of the modern piano and an instrument whose trajectory profoundly influenced Mozart’s development as a keyboard composer.”
    New York Times Arts Beat

  • 21 Feb 14 Recital 21 February 2014
    Boston Early Music Festival
    More info  

    “Mozart’s Suite in C major, K. 399, was an homage to the Baroque, yet its forward looking harmonies would have surprised Bach and Handel. Bezuidenhout’s playing was astonishingly fluid on an instrument not known for its ease of use, but he also played a kind of game of shadow and light to draw out the piece’s darker undercurrents, especially in the Courante…

    A Sonata in E minor by C.P.E. Bach, again full of mood contrasts, was the prelude to Mozart’s Rondo in A minor, K. 511, one of his most quietly radical works. Bezuidenhout’s performance was masterful, underscoring the music’s persistent gloom. At one point he introduced a completely new sound from the fortepiano, giving the music an almost Debussian wash of color…

    He earned every moment of the ovation he received, and he responded by recognizing the remarkable instrument he had played on. There was a single encore — the mesmerizing slow movement of Mozart’s C-major Sonata, K. 330.
    Boston Globe 24 Feb 2014 

  • 30 Apr 13 Bach Concerto in D minor
    With Ensemble Signal
    More info  

    “Setting fleet tempos, Mr. Bezuidenhout played with a rewarding blend of lilting elegance and rhythmic sweep. And he brought nobility to the lyrical twists of the wistful Adagio.”
    New York Times

  • 05 Dec 12 Mozart Piano Concertos
    Recording for Harmonia Mundi
    More info  

    “Bezuidenhout still shapes and shades this music with almost romantic finesse, and releases the historic instrument’s full expressive potential. In every register the sound changes: proudly growling down in the bass, bird-bright in the treble reaches, round and velvety in the middle.”
    Mozart Piano Concertos with the Freiburg Baroque Orchestra.
    The Times, 5 December 2012.

  • 30 Jan 12 MOZART CD Recording, Keyboard Music Vol 3
    Recording for Harmonia Mundi
    More info  

    “Kristian Bezuidenhout plays Mozart on the fortepiano like no-one else. Here he performs an assortment of solo works…with all the sensitivity, expressivity, flair and stylistic integrity that has marked him out as a supreme master of the early keyboard.”
    Mozart Volume 3 on Harmonia Mundi
    The Scotsman, 30 January 2012

  • 01 Oct 11 Bach Harpsichord Concerto
    With the Seattle Symphony Orchestra
    More info  

    “Bezuidenhout wove his web of relentless precision. Its no mean trick to take a piece with almost no rhythmic variation, written for an instrument with no volume variation, and make it expressive, but Bezuidenhout pulled off this alchemy.”
    Seattle Times, 29 October 2011


Concerto Repertoire

C. P. E. Bach
Concerto for piano, harpsichord & orchestra, Wq. 47
Johann Christian Bach
Concerto for harpsichord & strings in F minor
Concerto for piano & orchestra in E flat major
J. S. Bach
Concerto for harpsichord & strings in D minor, BWV 1052
Concerto for harpsichord & strings in D major, BWV 1054
Concerto for harpsichord & strings in A major, BWV 1055
Brandenburg Concerto Nr. 5 in D major, BWV 1050
Concerto for flute, violin, harpsichord & strings in A minor, BWV 1044
Concerto No. 1 in C major, Op. 15
Concerto No. 2 in B-flat major, Op. 19
Concerto No. 3 in C minor, Op. 37
Concerto No. 4 in G major, Op. 58
Concerto No. 5 in E-flat major, Op. 73, “Emperor”
Triple Concerto for violin, cello, and piano in C major, Op. 56
Violin Concerto, Opus 61a (Beethoven’s arrangement for piano & orchestra)
Rondo for piano & orchestra in B flat major, WoO 6
Piano Concerto in D major, Hob. XVIII: 11
Piano Concerto in G major, Hob . XVIII: 4
Concerto for piano, violin and strings in F major, Hob, XVIII: 6
Johann Wilhelm Hertel (1727-1789)
Piano Concerto in F minor (c. 1770)
Piano Concerto in E flat major (c. 1770)
Concerto for piano & strings in A minor (1822)
Concerto for piano & orchestra in D minor, op. 40 (1837)
Concerto for piano, violin and strings in D minor (1823)
Concerto No. 1 in F major, K. 37
Concerto No. 2 in B-flat major, K. 39
Concerto No. 3 in D major, K. 40
Concerto No. 4 in G major, K. 41
Concerto No. 9 “Jenamy” in E-flat major, K. 271
Concerto No. 10 in E-flat major for Two Pianos, K. 365
Concerto No. 11 in F major, K. 413/387a
Concerto No. 12 in A major, K. 414/385p
Concerto No. 13 in C major, K. 415/387b|
Concerto No. 14 in E-flat major, K. 449
Concerto No. 15 in B-flat major, K. 450
Concerto No. 17 in G major, K. 453
Concerto No. 18 in B-flat major, K. 456
Concerto No. 19 in F major, K. 459
Concerto No. 20 in D minor, K. 466
Concerto No. 21 in C major, K. 467
Concerto No. 22 in E-flat major, K. 482
Concerto No. 23 in A major, K. 488
Concerto No. 24 in C minor, K. 491
Concerto No. 25 in C major, K. 503
Concerto No. 27 in B-flat major, K. 595
Rondo for piano and orchestra in A major, K. 386

Solo Repertoire

C. P. E. Bach (1714-1788)
From “für Kenner und Liebhaber”:
Rondo in C minor, Wq. 59/4
Sonata in G major, Wq. 55/6
Sonata in E minor, Wq. 59/1
Rondo in F major, Wq. 57/5
Rondo in G major, Wq. 59/2
Fantasie in C, Wq. 61/6
Johann Christian Bach (1735-1782)
Sonata in B flat major, Op. 17, Nr. 6 (1777)
Sonata in G major, Op. 5, Nr. 3
Sonata in E flat major, Op. 5, Nr. 4
J. S. Bach
Partita in D major, BWV 828
Partita in B flat major, BWV 825
Selections from the Well Tempered Clavier
Toccata in D minor, BWV 913
Toccata in E minor, BWV 914
Italian Concerto, BWV 971
Partita in A minor (arrangement of Partita for solo violin, BWV 1004)
Sonata in F minor, Op. 2, Nr. 1
Sonata in E flat major, Op. 7
Sonata in D major, Opus 10, Nr. 3
Sonata in C minor, Op. 13, Pathétique
Sonata in B flat major, Op. 22
Sonata in D minor, Op. 31, Nr. 2, The Tempest
Rondos in C major and G major, Op. 51
Variations in C minor, WoO 80
Andante Favori, WoO 57
Georg Benda (1722-1795)
Sonata in A minor (1781)
J. Brahms
Intermezzi, Op. 118
Ballades, op. 79
Louis Couperin (1626-1661)
Suite in E minor
Muzio Clementi (1752-1832)
Sonata in G minor, Op. 7, Nr. 3 (1782)
Jan Ladislav Dussek (1760-1812)
‘The Sufferings of the Queen of France’, in C minor, op. 23
John Field (1782-1837)
Sonata in E flat major, Op. Nr. 1
Nocturne in C minor
Johann Jakob Froberger (1616-1667)
Toccata in C major
Suite in C major
Johann Wilhelm Hertel (1727-1789)
Sonata in C major (c. 1777)
Sonata in C minor (c. 1777)
F. J. Haydn
Sonata in F major, Hob. XVI: 23
Sonata in F major, Hob. XVI: 29
Sonata in C minor, Hob, XVI: 20
Sonata in B minor, Hob. XVI: 32
Sonata in C major, Hob, XVI: 48
Sonata in E flat, Hob, XVI: 49
Sonata in E flat, Hob, XVI: 52
Sonata in G minor, Hob, XVI: 44
Sonata in D major, Hob, XVI: 51
‘Seven Last Words’, arrangement for solo Keyboard
Variations in F minor, Hob. XVII: 6
Johann Kasper Kerll (1627-1693)
Toccata in G minor
Toccata in D minor
Passacaglia in D minor
Leopold Kozeluch (1747-1818)
Sonata in D minor (1786)
Sonata in F major
Joseph Martin Kraus (1756-1792)
Sonata in E flat major
Sonata in E major
W. A. Mozart
Sonata No. 1 in C major, K. 279 (Munich, Summer 1774
Sonata No. 2 in F major, K. 280 (Munich, Summer 1774)
Sonata No. 3 in B-flat major, K. 281 (Munich, Summer 1774)
Sonata No. 4 in E-flat major, K. 282 (Munich, Summer 1774)
Sonata No. 5 in G major, K. 283 (Munich, Summer 1774)
Sonata No. 6 in D major, K. 284 (Munich, February–March 1775)
Sonata No. 7 in C major, K. 309 (Mannheim, Nov. 8 1777)
Sonata No. 8 in A minor, K. 310 (Paris, Summer 1778)
Sonata No. 9 in D major, K. 311 (Mannheim, Nov 1777)
Sonata No. 10 in C major, K. 330 (1782)
Sonata No. 11 “Turkish March” in A major, K. 331 (1783)
Sonata No. 12 in F major, K. 332 (1783)
Sonata No. 13 in B-flat major, K. 333 (1783)
Sonata No. 14 in C minor, K. 457 (Vienna, Oct. 14, 1784)
Sonata No. 15 in F major, K. 533/494 (Vienna, Jan. 3, 1788)
Sonata No. 16 in C major, K. 545 (Vienna, Jun. 26, 1788)
Sonata No. 17 in B-flat major, K. 570 (Vienna, February, 1789)
Sonata No. 18 in D major, K. 576 (Vienna, July 1789)
Klavierstück in F, K. 33b (Zurich, 30 September 1766)
Fantasy & Fugue in C major, K. 394 (Vienna, 1782)
Fantasy in C minor, K. 396 (Vienna, 1782)
Fantasy in D minor
Fantasy in C minor, K. 475 (Vienna, May 20, 1785)
Rondo in D major, K. 485
Rondo in F major, K. 494 (finale to K. 533 above initially published alone)
Rondo in A minor, K. 511
Adagio for Piano in B minor, K. 540 (Vienna, 1788)
12 Variations in C major on “Ah, vous dirai-je, Maman”, K. 265
6 Variations in F major on “Salve tu, Domine”, K. 398
10 Variations in G major on the aria “Unser dummer Pöbel meint”, K. 455
9 Variations in D major on a Menuet by Jean-Pierre Duport, K 573
D. Scarlatti
Selected Sonatas
F. Schubert
Sonata in E flat, D. 568
Sonata in A major, D. 959
Sonata in B flat, D. 960
4 Impromptus, Op. 90, D. 899
‘Moment Musicaux’, D. 780
Adagio in G, D. 178
Allegretto in C minor, D. 915
Johann Schobert (c. 1720-1767)
Sonata in D minor