Utwory na płycie:

• Sonata Op. 2 No. 1 in F Minor: Allegro
• Sonata Op. 2 No. 1 in F Minor: Adagio
• Sonata Op. 2 No. 1 in F Minor: Menuetto. Allegretto
• Sonata Op. 2 No. 1 in F Minor: Prestissimo
• Sonata Op. 2 No. 2 in A Major: Allegro vivace
• Sonata Op. 2 No. 2 in A Major: Largo appassionato
• Sonata Op. 2 No. 2 in A Major: Scherzo. Allegretto
• Sonata Op. 2 No. 2 in A Major: Rondo
• Sonata Op. 2 No. 3 in C Major: Allegro con brio
• Sonata Op. 2 No. 3 in C Major: Adagio
• Sonata Op. 2 No. 3 in C Major: Scherzo
• Sonata Op. 2 No. 3 in C Major: Allegro assai

Sonata Op. 2, No. 1 in F Minor
Sonata Op. 2, No. 2 in A Major
Sonata Op. 2, No. 3 in C Major

Can something new, interesting and ‘true’ still be said about the interpretation of Beethoven’s sonatas? I believe so, provided we break out of the conventions created by the tradition of interpretation and discography, where in 98% of cases a modern piano is used. Therefore, I thought that the choice of recording Beethoven on a historical instrument could also be a way for a more individual interpretative investigation, free from the models that listening to famous recordings on a modern piano risks accustoming us to. I do not believe that there is a ‘right’ and a ‘wrong’ instrument on which to perform Beethoven’s Sonatas Opus 2. What matters is the musical result. It depends on the alchemy that is created between the performer and the instrument. Before I came to choose the Graf No. 429, I tried at length various modern copies of fortepiano from 1795 - 1800, trying to get closer to the sound and expressive world of early Beethoven. However, having the opportunity of having a Graf fortepiano (No. 429) in my studio, restored in 2023, I was able to prepare this recording on that instrument, playing it regularly for a year, achieving a kind of familiarity with its action and timbral response that I have grown fond of. - from the linernotes of the album, by Robert Prosseda