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Langue disponible : anglais
Of all the hundreds or thousands of recordings that have been made of Beethoven's last three piano sonatas, just a few feature a piano from Beethoven's own time. The case for historical-instrument Beethoven is weaker than that for earlier music; Beethoven eagerly sought out bigger, louder pianos, and one supposes that he would have been delighted to pound away at a modern concert grand. The 1830 Graf instrument heard on this disc does not sound terribly unfamiliar, but it is different from a modern instrument, and Dutch pianist Paul Komen exploits the differences in unusual performances of Beethoven's valedictory sonatas.
The Graf's most noticeable characteristic is the speed at which its tones decay. The instrument clarifies inner lines in dense textures like that of the concluding fugue of the Piano Sonata No. 31 in A flat, Op. 110, but the biggest surprises it has in store come in music that enters its extreme upper register. The instrument's top notes have a rather unearthly chiming sound. The high notes in the later variations of the immense variation set that concludes the Piano Sonata No. 32, Op. 111, where Beethoven finally slips the surly bonds of earth and enters a rarefied, mystic realm, have an exotic sound in Komen's recording that other versions lack. In the equally ecstatic variations that conclude the Piano Sonata No. 30, Op. 109, the counterpoint of leaping arpeggios in the inner voices against lengthy trills in the outer ones is exquisitely drawn.
Komen builds up gradually to these peaks, beginning rather dryly. His approach makes some sense in that he places structural emphasis on Beethoven's unfolding of what at the time were novel piano sonorities. But his playing of the theme of the Op. 109 variations does not fulfill Beethoven's "mit innigster Empfindung" (with most inward feeling) direction. And in the Op. 111 finale, the joyful rhythms of the early variations, especially the one with the bizarre jazz-like syncopations, seem to arise out of nowhere. Despite passages that one might like to hear reshaped, though, these readings are well worth investigating for those fascinated by Beethoven's late style.
© TiVo
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Ludwig van Beethoven, Composer - Paul Komen, MainArtist
(C) 2014 Globe (P) 2014 Globe
Ludwig van Beethoven, Composer - Paul Komen, MainArtist
(C) 2014 Globe (P) 2014 Globe
Ludwig van Beethoven, Composer - Paul Komen, MainArtist
(C) 2014 Globe (P) 2014 Globe
Ludwig van Beethoven, Composer - Paul Komen, MainArtist
(C) 2014 Globe (P) 2014 Globe
Ludwig van Beethoven, Composer - Paul Komen, MainArtist
(C) 2014 Globe (P) 2014 Globe
Ludwig van Beethoven, Composer - Paul Komen, MainArtist
(C) 2014 Globe (P) 2014 Globe
Ludwig van Beethoven, Composer - Paul Komen, MainArtist
(C) 2014 Globe (P) 2014 Globe
Ludwig van Beethoven, Composer - Paul Komen, MainArtist
(C) 2014 Globe (P) 2014 Globe
Chronique
Of all the hundreds or thousands of recordings that have been made of Beethoven's last three piano sonatas, just a few feature a piano from Beethoven's own time. The case for historical-instrument Beethoven is weaker than that for earlier music; Beethoven eagerly sought out bigger, louder pianos, and one supposes that he would have been delighted to pound away at a modern concert grand. The 1830 Graf instrument heard on this disc does not sound terribly unfamiliar, but it is different from a modern instrument, and Dutch pianist Paul Komen exploits the differences in unusual performances of Beethoven's valedictory sonatas.
The Graf's most noticeable characteristic is the speed at which its tones decay. The instrument clarifies inner lines in dense textures like that of the concluding fugue of the Piano Sonata No. 31 in A flat, Op. 110, but the biggest surprises it has in store come in music that enters its extreme upper register. The instrument's top notes have a rather unearthly chiming sound. The high notes in the later variations of the immense variation set that concludes the Piano Sonata No. 32, Op. 111, where Beethoven finally slips the surly bonds of earth and enters a rarefied, mystic realm, have an exotic sound in Komen's recording that other versions lack. In the equally ecstatic variations that conclude the Piano Sonata No. 30, Op. 109, the counterpoint of leaping arpeggios in the inner voices against lengthy trills in the outer ones is exquisitely drawn.
Komen builds up gradually to these peaks, beginning rather dryly. His approach makes some sense in that he places structural emphasis on Beethoven's unfolding of what at the time were novel piano sonorities. But his playing of the theme of the Op. 109 variations does not fulfill Beethoven's "mit innigster Empfindung" (with most inward feeling) direction. And in the Op. 111 finale, the joyful rhythms of the early variations, especially the one with the bizarre jazz-like syncopations, seem to arise out of nowhere. Despite passages that one might like to hear reshaped, though, these readings are well worth investigating for those fascinated by Beethoven's late style.
© TiVo
À propos
- 1 disque(s) - 8 piste(s)
- Durée totale : 01:04:53
- Artistes principaux : Paul Komen
- Compositeur : Ludwig van Beethoven
- Label : Globe
- Genre : Classique
(C) 2014 Globe (P) 2014 Globe
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