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In 1775 Leopold Mozart made an offer to publisher Breitkopf in Leipzig: to print an opus of keyboard sonatas by his son mit veränderten Reprisen, following the famous example set by C. P. E. Bach. Breitkopf declined, but after 250 years the idea still resonates: what might Wolfgang Amadé Mozart’s Sonatas with Varied Reprises have sounded like?

Played on a highly responsive Stein fortepiano, Tom Beghin’s reconstituted score of K. 279–284 (Munich, 1775) provides a captivating answer—one that challenges our familiarity with six classics of the repertoire, while also paying tribute to Mozart’s supreme improvisational skills.