Beethoven: Piano Sonatas Nos. 11-13, 15, 22 & 27

Available in Audiophile 96kHz/24bit

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Album Name Length Format Sample Rate Price
Beethoven: Piano Sonatas Nos. 11-13, 15, 22 & 27 1:48:22 $17.98
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# Track Title Length Format Sample Rate Price
Album 1
1 I. Allegro con brio 7:22 96/24 Album only
2 II. Adagio con molto espressione 6:59 96/24 Album only
3 III. Minuetto 3:17 96/24 Album only
4 IV. Rondo: Allegretto 6:24 96/24 Album only
5 I. Andante con variazioni 7:58 96/24 Album only
6 II. Scherzo: Molto allegro 2:42 96/24 Album only
7 III. Marcia funebre sulla morte d'un eroe 6:09 96/24 Album only
8 IV. Allegro 3:37 96/24 Album only
9 I. Andante 15:01 96/24 Album only
10 II. Allegro molto e vivace 1:55 96/24 Album only
11 III. Adagio con espressione 2:58 96/24 Album only
12 IV. Allegro vivace 5:43 96/24 Album only
Album 2
1 I. In tempo d'un minuetto 5:37 96/24 Album only
2 II. Allegretto - Piu allegro 5:37 96/24 Album only
3 I. Mit lebhaftigkeit und durchaus mit Empfindung und Ausdruck 5:35 96/24 Album only
4 II. Nicht zu geschwind und sehr singbar vorgetragen 7:35 96/24 Album only
5 I. Allegro 10:11 96/24 Album only
6 II. Andante 6:10 96/24 Album only
7 III. Scherzo: Allegro vivace 2:22 96/24 Album only
8 IV. Rondo: Allegro ma non troppo 4:34 96/24 Album only

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℗ © 2012 PentaTone 

Ludwig van Beethoven (1770-1827)

Mari Kodama, piano

The eighth release in Mari Kodama’s Beethoven Piano Sonata cycle presents works from the composer’s middle period. Despite the highly distinctive individual character of each sonata, the historical coherence of the works is clearly apparent in this synopsis. Primarily, Beethoven bids farewell to the traditional sonata cycle, as is already demonstrated in the first movement of Op. 26. On the score of the sonata model he was apparently attempting to improve upon, the composer developed his profound modifications that finally left behind the classical model of the sonata as such.

But in the works recorded here, not only the structural foundations undergo a basic expansion; the spheres of expression in the movements themselves are dramatically intensified, indeed, profoundly individualized. Beethoven even brings extra-musical, aesthetic categories into the arena: for instance, when he actually celebrates the “intrusion of the Fantastic” (Mauser) in Op. 27, intrinsically links the pastoral nature of Op. 28 to the moods of the Symphony No. 6, or makes a direct reference in the Sonata Op. 31, No. 2 to Shakespeare’s Tempest. Even though one cannot speak of program music in the true sense of the word here, this orientation towards non-musical parameters appears to go hand in hand with the extended form concepts.

Recorded August 2012 at Concertboerderij Valthermond in The Netherlands. 

Producer: Wilhelm Hellweg
Recording engineer:
Jean-Marie Geijsen
Editing engineers: Matthijs Ruijter and Ientje Mooij