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Murray Perahia|Beethoven : Piano Sonatas (Op. 106 & Op. 27/2)

Beethoven : Piano Sonatas (Op. 106 & Op. 27/2)

Murray Perahia

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Oh no, no, no: this is absolutely not a re-release of one of the many recordings which Murray Perahia made of Beethoven over the decades. This here is something completely new, made in 2016 and 2017, of two radically contrasting sonatas: the Fourteenth of 1801, which Rellstab nicknamed "Clair de lune" in 1832, while Beethoven merely dubbed it Quasi una fantasia, and the Twenty Ninth of 1819, Große Sonate für das Hammerklavier, written after several barren years. Perhaps, consciously or not, Perahia has coupled two works, one "before" and the other "after" - after all, he himself has known his fair share of fallow years, following a hand injury which removed him from the stage from 1990 to 2005. Whether or not it's true, it's certainly tempting to imagine. Either way, like Beethoven, Perahia made a storming return, as shown in this recent performance, in which vigour alternates with moments of intense introspection, always impeccably phrased and articulated, and deeply musical. Clearly all those years in which he concentrated almost exclusively on the works of Bach as a training regime while he waited for recovery seem to have in fact been immensely fruitful. © SM/Qobuz

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Beethoven : Piano Sonatas (Op. 106 & Op. 27/2)

Murray Perahia

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Piano Sonata No. 29 in B-Flat Major, Op. 106 - "Hammerklavier" (Ludwig van Beethoven)

1
I. Allegro
00:10:09

Murray Perahia, Piano - Ludwig van Beethoven, Composer - (Andreas Neubronner, Producer - Markus Heiland, Recording Engineer)

℗ 2018 Deutsche Grammophon GmbH, Berlin

2
II. Scherzo. Assai vivace
00:02:28

Murray Perahia, Piano - Ludwig van Beethoven, Composer - (Andreas Neubronner, Producer - Markus Heiland, Recording Engineer)

℗ 2018 Deutsche Grammophon GmbH, Berlin

3
III. Adagio sostenuto
00:16:21

Murray Perahia, Piano - Ludwig van Beethoven, Composer - (Andreas Neubronner, Producer - Markus Heiland, Recording Engineer)

℗ 2018 Deutsche Grammophon GmbH, Berlin

4
IV. Largo - Allegro risoluto
00:11:49

Murray Perahia, Piano - Ludwig van Beethoven, Composer - (Andreas Neubronner, Producer - Markus Heiland, Recording Engineer)

℗ 2018 Deutsche Grammophon GmbH, Berlin

Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 "Moonlight" (Ludwig van Beethoven)

5
I. Adagio sostenuto
00:05:16

Murray Perahia, Piano - Ludwig van Beethoven, Composer - (Andreas Neubronner, Producer - Markus Heiland, Recording Engineer)

℗ 2018 Deutsche Grammophon GmbH, Berlin

Piano Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2 "Moonlight" (Ludwig van Beethoven)

6
II. Allegretto
00:02:10

Murray Perahia, Piano - Ludwig van Beethoven, Composer - (Andreas Neubronner, Producer - Markus Heiland, Recording Engineer)

℗ 2018 Deutsche Grammophon GmbH, Berlin

7
III. Presto agitato
00:07:25

Murray Perahia, Piano - Ludwig van Beethoven, Composer - (Andreas Neubronner, Producer - Markus Heiland, Recording Engineer)

℗ 2018 Deutsche Grammophon GmbH, Berlin

Album review

Oh no, no, no: this is absolutely not a re-release of one of the many recordings which Murray Perahia made of Beethoven over the decades. This here is something completely new, made in 2016 and 2017, of two radically contrasting sonatas: the Fourteenth of 1801, which Rellstab nicknamed "Clair de lune" in 1832, while Beethoven merely dubbed it Quasi una fantasia, and the Twenty Ninth of 1819, Große Sonate für das Hammerklavier, written after several barren years. Perhaps, consciously or not, Perahia has coupled two works, one "before" and the other "after" - after all, he himself has known his fair share of fallow years, following a hand injury which removed him from the stage from 1990 to 2005. Whether or not it's true, it's certainly tempting to imagine. Either way, like Beethoven, Perahia made a storming return, as shown in this recent performance, in which vigour alternates with moments of intense introspection, always impeccably phrased and articulated, and deeply musical. Clearly all those years in which he concentrated almost exclusively on the works of Bach as a training regime while he waited for recovery seem to have in fact been immensely fruitful. © SM/Qobuz

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