Triumph: Beethoven Sonata

PRODUKTBESCHREIBUNGEN
The Mt. Everest of all of Beethoven's piano sonatas is the 'Hammerklavier'- his Op. 106. It is easily the longest in length and probably the most complex - just listen to the final movement with it's 4 voice double fugue. It also qualifies as one of the most spiritual sonatas that Beethoven ever wrote. With the second movement Adagio, Beethoven seems to transport us up to heaven and then bring us slowly back to this world. It is a sonata that the pianist needs to conquer on all levels in order to make his own- intellectually, physically, emotionally and of course spiritually. It requires lots of soul-searching to peel away all the layers and try and understand what it meant not only to Beethoven when he wrote it, but what it means to the performer of today and his audience. When we consider the complex world in which we now live, this is music that inspires - strong, triumphant and profound! Liszt was the pianist who first introduced Beethoven's mammoth 'Hammerklavier' Sonata, Op. 106 to his audiences. He was one of the few pianists around at the time when he was giving concerts who could understand the work and could play it as well as communicate Beethoven's musical message to the general public. That is why Liszt's music is also included with Beethoven's masterwork on this recital recording. Perhaps Liszt in the spirit of Triumph! Might have programmed all these pieces together. The program opens with Liszt's transcription of Bach's Organ Prelude and Fugue in A minor. Liszt knew how to transcribe for the piano- he does not alter Bach's musical content but because of the differences between the organ and the piano, the piano version has to fill in sonorities and this transcription becomes a virtuosic and romantic composition. After the Beethoven Sonata, we hear Liszt, the composer of difficult Etudes that only he was capable of playing. That's why Liszt revised his first set of Transcendental Studies- they are miniature tone poems- program music describing 'Evening Harmonies', 'Fire-flies' and a 'Snow- plough.' in this final piece, Liszt makes us hear what sounds like a true blizzard at the piano. The concert concludes with an encore by the 'Russian Liszt' Sergei Prokofiev - the composer who followed in Liszt's footsteps. Liszt probably would have enjoyed playing Prokofiev's 'Diabolical Suggestion.' "A standout 'Hammerklavier,' merely superb everything else." "She plays with a striking combination of urgency and repose. There is something very personal in her interpretations which manifests itself strongly in the great slow movement of the Beethoven." "a grand, sweeping account of this huge masterwork, swift, heartfelt in the slow movement, shirking nothing.?"

Number of Discs: 1

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