THE MOZART RECORDINGS grabbed my ear with their delicacy of touch and overall ethereal sound. This was late-night radio listening for me, a teenager in thrall to the many discoveries I was making in world of classical music. An eccentric radio host named Bill Watson purveyed the Mozart, calling particular attention to the fact that these sonatas and other keyboard works had been recorded by Walter Gieseking.
I’d been amassing piano records by Arthur Rubinstein and Vladimir Horowitz, but I sprang for the low-priced Seraphim-label reissue of Gieseking’s Mozart, and I have not been without it, in some form or another, in the half-century since.Gieseking was a unique phenomenon in the crowded world of piano virtuosos. From all accounts, his technique was impeccable, his six-feet-four body hunched close to the keyboard, the fingers seeming to move hardly at all. In his early years, his repertory was quite large, but it contracted as concert promoters grew increasingly wary of new works – a category Gieseking championed. He could sight-read anything with no mistakes, and he learned scores by studying them as an actor would study a script.



