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Beethoven: Fur Elise, Bagatelles Opp. 33, 119 & 126

Paul Lewis

Classical - Released July 10, 2020 | harmonia mundi

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‘Miniature’ Beethoven! In our collective idea of the piano, Beethoven’s name is associated with the monument of the thirty-two sonatas, which have often been elevated to the status of the ‘New Testament’ beside the ‘Old Testament’ of Bach’s Well-Tempered Clavier. Yet, over a period of decades, the composer of Für Elise constantly returned to the genre of the bagatelle, which he called ‘trifles’ but which actually meant a great deal to him. In this small form par excellence, as in the sonata, Beethoven laid the foundations for a flourishing new genre, the piano miniature. Whether they last a few minutes or a few seconds, these Bagatelles are masterpieces! © harmonia mundi
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Fauré: Intégrale de l'œuvre pour piano, Vol. 4

Jean-Claude Pennetier

Classical - Released May 25, 2018 | Mirare

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Beethoven: Cello Sonatas, Op. 102, Bagatelles, Opp. 119 & 126

Andreas Staier

Chamber Music - Released June 10, 2022 | harmonia mundi

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From the mid-1810s until the end of his life, Beethoven constantly tested to the limit the forms he had inherited from Haydn and Mozart. His last two cello sonatas bear witness to this structural preoccupation, which was to open up so many new spaces . . . as do the final sets of Bagatelles, as disconcerting as they are innovative! Two genres shrewdly linked by Andreas Staier and Roel Dieltiens in these interpretations, in which eloquence merges with historically informed performance practice. © harmonia mundi
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Oscillations

Ludwig van Beethoven

Classical - Released May 10, 2013 | Challenge Classics

The premise here is the odd pairing of piano music by Beethoven and Stravinsky, one of the few composers to go on record as saying he actively disliked Beethoven's music. The piano, moreover, was central to Beethoven's output and peripheral in Stravinsky's. Israeli pianist Einav Yarden faces a tall order in her "oscillations" between what seem like two musical poles, and the appeal of the program is that, despite the title, she makes the pieces involved seem reasonably closely related to each other. There are several steps to this, beginning with the selection of material. The Beethoven sonatas and especially the Bagatelles, Op. 119, at the end of the program might be said to represent Beethoven at his most "Stravinskian," with a dry, witty tone, structures built on precise manipulations of humorous ideas, and a lack of drama and strongly directional motion. Yarden goes on to apply a common style to all of the music, one that pushes Beethoven forward and Stravinsky backward into the Romantic era. She uses lots of pedal and turns all the music into something resembling a Schumann character piece, something that works well enough again in the Beethoven bagatelles and in the large number of short Stravinsky pieces included. The interpretations are unusual enough on their own to be worth hearing, but the connections they draw, roughly summed up by the statement that Romantic ideas are applicable to both Beethoven and Stravinsky, are equally original. An offbeat program that really works. © TiVo

Beethoven: Diabelli Variations, Op. 120 & Bagatelles, Op. 119

Edouardo Torbianelli

Classical - Released November 4, 2013 | Gramola Records

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Beethoven: Bagatelles Op. 33, WoO 52, WoO 56, Op. 119, Op. 126

Grant Johannesen

Classical - Released July 24, 2020 | Mezzoforte

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Beethoven: 11 Bagatelles, Op. 119

Wolfgang Müller Steinbach

Classical - Released December 7, 2018 | SWR Mediaservices GmbH

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Brahms: 4 Ballades, Op. 10 – Beethoven: 11 Bagatelles, Op. 119

Gitti Pirner

Classical - Released June 5, 2020 | SWR Mediaservices GmbH

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11 Bagatelles at Harp, Op. 119

Sayura Takoshima

Classical - Released May 23, 2018 | Sayura Takoshima

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Beethoven & Schumann: Bagatelles, Opp. 119 & 126 and Kreisleriana, Op. 16

Eugenio De Rosa

Classical - Released January 27, 2023 | Musicaphon

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11 Bagatelles, Op. 119: No. 9. Vivace moderato

Ludwig van Beethoven

Classical - Released April 10, 2024 | Stereo Arts Classics

11 Bagatelles, Op. 119: No. 1 - Allegretto

Ludwig van Beethoven

Classical - Released April 16, 2024 | Stereo Arts Classics

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Beethoven: Triple Concerto

Sol Gabetta

Classical - Released September 11, 2015 | Sony Classical

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The three soloists in the Beethoven Triple Conecerto in C major, Op. 56, are all attractive players in their own right, and they display lively, agile ensemble work here. Cellist Sol Gabetta in particular, emerging as a major star on her instrument, brings a lightness and clarity to the melodies of this work that is so often laden down with more weight than it can bear. (The work looks back to Beethoven's first period more than forward to the Violin Concerto in D major, Op. 61.) But the real star is conductor Giovanni Antonini, leading the Basel Chamber Orchestra, who keeps the music moving along and brings it the transparency it so often lacks. The three overtures that bracket the Triple Concerto are much more than filler; Antonini brings an urgent trajectory to the Egmont Overture, Op. 84 (sample track 5), especially, with tempo shifts and razor-sharp instrumental turning points that perhaps take the piece away from the monumental tone of the Goethe play to which it is attached, but sound like no other version you've heard. If there's any complaint, it's that the Egmont Overture would have made a better conclusion than the Coriolan Overture, Op. 62, which is also well done but is a less self-contained piece. Impressive, even essential Beethoven that has absorbed the lessons of the historical-performance movement.© TiVo
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Le Concert des Oiseaux. Vincent Bouchot: Le Carnaval des animaux en péril

La Rêveuse

Classical - Released February 10, 2023 | harmonia mundi

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Several famous pieces of music based on birdsong appeared in the 19th and 20th centuries; those by Saint-Saëns, Britten, and Ravel are here, although Messiaen is not. However, the affinity between music and birdsong had been explored for centuries before that, and the early music group La Rêveuse here provides some delightful examples. The always pictorial François Couperin is represented, as is Rameau, but other composers are less familiar but no less charming. Sample the works by Theodor Schwartzkopff, Michel Blavet, and especially Michel Pignolet de Montéclair (1667-1737), whose "Les Ramages" ("The Songs") names a group of birds and then illustrates their songs. Then there are historical-instrument versions of Saint-Saëns, Britten, and Ravel. One may accept this idea or not, but even in the latter case, they don't do much to dent the charm of the whole. The program ends with a work by contemporary composer Vincent Bouchot, Le Carnaval des animaux en péril, a kind of a take-off on Saint-Saëns for the Anthropocene era that also calls forth a striking variety of instruments from La Rêveuse. Another questionable idea is that, in keeping with the practices of this group, recorded birdsong is heard between some of the tracks. Whatever aspects of this release might be doubtful, it rarely fails to bring a smile. © James Manheim /TiVo
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Chopin: 26 Préludes - Scriabine: Sonate Op. 19 No. 2

Beatrice Rana

Classical - Released September 2, 2012 | ATMA Classique

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