Paavali Jumppanen is an internationally esteemed pianist, with a vast performance repertoire spanning from Bach to the Avant-garde. Jumppanen’s performances of the complete cycles of Beethoven’s and Mozart’s Piano Sonatas as well as Beethoven’s concertos and chamber music have won critical acclaim. Jumppanen has collaborated with numerous contemporary composers and has premiered many solo and chamber works for the piano. Of particular note are his recordings of Pierre Boulez’s complete piano sonatas at the request of the composer. This adaptability between musical genres gives a fresh reading of the core classical piano repertoire.
Canadian pianist Angela Hewitt has specialized in Baroque and Classical music, and her Beethoven is about as delicate as some might expect. But there's a difference between applying delicacy to works that are not conventionally played that way, and applying it to already delicate works. There are two of each here. Hewitt runs counter to type in the early Piano Sonata No. 2 in A major, Op. 2/2, and Piano Sonata No. 5 in C minor, Op. 10/1. In the Op. 10 work, perhaps a preparatory essay for the tumultuous "Pathétique" sonata that followed in the same key, Hewitt will be underpowered for many. But all is redeemed in the gentler pair, the Piano Sonata No. 24 in F sharp major, Op. 78, and Piano Sonata No. 31 in A major, Op. 110. Hewitt takes moderate tempi in these, infusing a sense of spontaneity into the brief, tightly constructed Op. 78 and opening up the fugal counterpoint in the Op. 110 finale. Hewitt's Bachian training really applies in this work, whose first movement is also particularly raptly, almost mystically done. It's hard to offer a general judgment on this set, but for those buying online, in pieces, know that the last two selections are must-haves.
Angela Hewitt presents a fourth volume in her acclaimed series of Beethoven’s piano sonatas, which has delighted her fans worldwide. The little-known Sonata in B flat major, Op 22, the last of Beethoven’s ‘early’ sonatas, is recorded alongside Op 31 No 3 (sometimes known as ‘La chasse’, or ‘The Hunt’, because of its tumultuous Presto con fuoco finale). The album is concluded with Op 101, of which the journalist for the Allgemeine musikalische Zeitung in Leipzig wrote: ‘Truly, here in his 101st composition admiration and renewed respect take hold of us, when we wander along strange, never trodden paths with the great painter of the soul’, going on to enthuse about the most beautiful colours and pictures in Beethoven’s new Piano Sonata.
Maurizio Pollini continues to complete his cycle of recordings of all of the Beethoven Piano Sonatas. This is the second to last disc before Pollini completes the Beethoven Sonatas Cycle. One of the greatest pianists of our time presents his own unique and individual survey of giants of the piano repertoire. Recorded at the KKL Luzern and the Herkulessaal (Residence) in Munich. A special album from a special pianist – and one with appeal beyond the world of piano aficionados. Maurizio Pollini is one of Deutsche Grammophon’s icons, having been exclusively with the company for over four decades.
This concert was performed at the Musicvereinsalle in Vienna and was broadcast throughout Austria and most of Western Europe. Rudi was 85 years old at this time. He died three years later and is buried in Vermont. No one has ever played Beethoven with such passion and beauty in the 20th Century..
This double-CD release is a second volume in pianist Paavali Jumppanen’s ongoing recording cycle of the Beethoven piano sonatas. This new release contains six piano sonatas: three early Op. 10 sonatas (published in 1798) and three sonatas written between 1804–06 (Opp. 53, 54 & 57). Piano Sonata Op. 53 Waldstein, completed after the 3rd Symphony, was described by Wilhelm von Lenz, an early biographer of Beethoven, as a “heroic symphony for piano.” Piano Sonata Op. 57 Appassionata is undoubtedly Beethoven’s darkest and most aggressive work. The Sonata has been compared to Dante’s Inferno and Shakespeare’s bloodthirsty Macbeth.