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In 1986, he left the group to concentrate on solo and chamber music, with an emphasis on the harpsichord and the fortepiano, a softer-sounding predecessor of the modern grand piano.

I’ve never seen in Mozart so many fortepiano dynamics; it’s abrupt and a permanent change of color.

Opera Orchestra played on modern instruments, with the exception of a fortepiano, but it needed modern amplification.

An impossible challenge: Choose a single track from the dozens in Robert Levin’s tirelessly lively, eloquent collection of Mozart’s piano sonatas, recorded on their composer’s own fortepiano.

Robert Levin here offers the first survey of Mozart’s piano sonatas to be recorded on the composer’s own walnut-clad, ebony-keyed fortepiano, an Anton Walter construction dating roughly to 1782 that Mozart used privately and publicly in Vienna from around 1785.