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The much anticipated second volume of Peter Donohoe's complete survey of Mozart's Piano Sonatas for SOMM Recordings focuses on three sonatas produced during the composer's ill-fated journey to Paris in 1777. This new follows remarkable critical acclaim for Volume 1 including the accolade of BBC Music Magazine's Recording of the Month which declared InchIt was high time someone blew the cobwebs off this still under-appreciated repertoire, and Donohoe is clearly the person to do it.Inch Volume 2 promises more revealing performances from Donohoe, applauded in Gramophone's review of Volume 1 for demonstrating Incha personal involvement that is as touching as it is fascinating and finely consideredInch. As if anticipating the mighty Jupiter Symphony, with uncharacteristically detailed tempo indications and an improvisatory quality in places, the Piano Sonata in C major (No.7, K309) may have been composed with Rosa Cannabich in mind, Mozart's 15-year-old student giving it's first performance in late 1777. In a relatively rare key signature for Mozart, the A minor Piano Sonata (No.8, K310) was composed in 1778 immediately after the death of the composer's mother. Intense and expressive, it shows, Christopher Morley succinctly suggests in his informative notes, InchMozart at his most grimInch. Spacious, full of grand gestures and animated display, the Piano Sonata in D major (No.9, K311) is Incha big, spectacular Sonata, full of effect and colorInch that explores the full range of the keyboard with winning exuberance. The A minor Rondo (K511) was composed in March 1787 and, notes Christopher Morley, Inchunfettered by the obligations of orchestral constraints, [it] builds in chromatic intensity and melodic urgency to emerge as one of the most profound movements ever penned by the composerInch. Volume 2 of Peter Donohoe's Mozart Piano Sonatas delivers on the hope expressed b
