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Wydawnictwo: Audite
Nr katalogowy: AUDITE 21451
Nośnik: 9 CD
Data wydania: listopad 2017
EAN: 4022143214515
128,00zł
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Epoka muzyczna: klasycyzm
Obszar (język): niemiecki
Instrumenty: fortepian
Rodzaj: sonata

Beethoven: The Complete Piano Sonatas

Audite - AUDITE 21451
Wykonawcy
Martin Rasch, piano
Utwory na płycie:
CD 1:
Klaviersonate Nr. 1 f-Moll op. 2/1
Klaviersonate Nr. 2 A-Dur op. 2/2
Klaviersonate Nr. 3 C-Dur op. 2/3

CD 2:
Klaviersonate Nr. 4 Es-Dur op. 7
Klaviersonate Nr. 5 c-Moll op. 10/1
Klaviersonate Nr. 6 F-Dur op. 10/2

CD 3:
Klaviersonate Nr. 7 D-Dur op. 10/3
Klaviersonate Nr. 8 c-Moll op. 13 ‘Pathétique’
Klaviersonate Nr. 9 E-Dur op. 14/1
Klaviersonate Nr. 10 G-Dur o p. 14/2

CD 4:
Klaviersonate Nr. 11 B-Dur op. 22
Klaviersonate Nr. 12 As-Dur op. 26
Klaviersonate Nr. 13 Es-Dur op. 27/1 (Sonata quasi una fantasia)
Klaviersonate Nr. 14 cis-Moll op. 27/2 (Sonata quasi una fantasia) ‘Mondschein-Sonate’

CD 5:
Klaviersonate Nr. 15 D-Dur op. 28 ‘Pastorale’
Klaviersonate Nr. 16 G-Dur op. 31/1
Klaviersonate Nr. 17 d-Moll op. 31/2 ‘Der Sturm’

CD 6:
Klaviersonate Nr. 18 Es-Dur op. 31/3
Klaviersonate Nr. 19 g-Moll op. 49/1
Klaviersonate Nr. 20 G-Dur op. 49/2
Klaviersonate Nr. 21 C-Dur op. 53 ‘Waldstein-Sonate’
Klaviersonate Nr. 22 F-Dur op. 54

CD 7:
Klaviersonate Nr. 23 f-Moll op. 57 ‘Appassionata’
Klaviersonate Nr. 24 Fis-Dur op. 78
Klaviersonate Nr. 25 G-Dur op. 79
Klaviersonate Nr. 26 Es-Dur op. 81a ‘Les Adieux’
Klaviersonate Nr. 27 e-Moll op. 90

CD 8:
Klaviersonate Nr. 28 A-Dur op. 101
Klaviersonate Nr. 29 B-Dur op. 106 ‘Große Sonate für das Hammerklavier’

CD 9:
Klaviersonate Nr. 30 E-Dur op. 109
Klaviersonate Nr. 31 As-Dur op. 110
Klaviersonate Nr. 32 c-Moll op. 111
Worlds upon worlds, strange constellations, collisions, destruction and creation, coherent laws and mysterious forces: The cosmos of Beethoven's piano sonatas is in movement, a "work in progress," or as Beethoven's favorite philosopher Immanuel Kant wrote, "always occupied with bringing forth new things and new worlds." Beethoven internalized this revolutionary, dynamic new world view, and it also forms the basis for his creative aesthetic: From the three sonatas Op. 2 dedicated to Haydn and rooted in the Classical tradition to the final movement of Op. 111, where the "artless song" of the Arietta undergoes a unique process of rhythmic transformation in which it seems to be completely liberated from time and space. The critic Adolf Bernhard Marx, who was sympathetic to Beethoven, was no longer able to follow, but still found the fitting words for this final point of culmination: "At the end of the finite, the eternal reveals itself."

Recordings: August 2014 - August 2016, Hochschule für Musik und Theater München, Großer Konzertsaal

Zobacz także:

  • HC 17029
  • BID 80172-2
  • DIAP 05
  • FHR 038
  • ALC 1354
  • CDA 68138
  • CRC 3514
  • AVI 8553377
  • CHAN 10932
  • OVCL 00587