Beethoven: Pathétique, Funèbre, Clair de Lune & Appassionata

Resenha do Álbum

Michel Dalberto has had a unique career journey. An expert of French repertoire, exemplified with his tetralogy published on Aparté (Debussy, Fauré, Franck and Ravel), he also recorded the somewhat neglected first sonatas by Beethoven in a compilation published by Erato in the 1980s. However, he thereafter dedicated himself mainly to Schubert, saving the Appassionata, Moonlight and Opus 111 for later. This album signals the end of the wait for these iconic pieces in the year of an important anniversary for Beethoven, presenting them to the listener in chronological order. From the Pathétique to Sonata n°32, op. 111, Michel Dalberto seems determined to portray Beethoven as a classical and not a pre-romantic composer, as the musical history books are often known to do. There is a real emphasis on the thematic and motivic logic of the music here. Thus the deliberately slow tempo of the Allegretto of the Sonata n°14, op. 27 manages to deconstruct the score without totally stripping it of its substance. It’s followed by the Presto Agitato, a delirious sprint with devilish articulation which is divinely transparent despite the apprehension in the highs and lows. The formidable changes in register in Beethoven’s opus are interwoven seamlessly thanks to the narrative genius of the performer (Schubert’s influence is not too far away). Indeed, Opus 111’s first movement is remarkable. The Steinway is expectedly robust, cutting even, as the pianist creates moments of orchestral sonority and weightless playing. A result which leaves the listener awestruck. © Elsa Siffert/Qobuz