Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI)


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The little memory lapse in the second half was evident enough to cause a short, momentary adrenaline spike. Not just presumably with the artist, but with those listening attentively. Variation IX : more alluding to the pesante than really heavy, the volume gently grew, remained controlled in the ff ending. Variation X builds a first, more virtuosic climax. The variation XI is a fresh start, a contemplative flower garden with warm sonority, amiable, lovely. Also the Vivace , the attitude in XIII remained controlled, not storming forward, but structuring the variation through distinct agogics, i.

At the same time, the articulation was precise but never stubborn in the punctuations, devoid of superficialities. The Presto scherzando XV indeed was sempre pp : delicate, with gentle arches in the slurred segments. XVIII , was such a beautiful little island between virtuosic pieces, a calm Bagatelle , reflective, pensive, pondering, with blooming emotions!

XIX : not primarily brilliant artistry, but binding the cascading broken chords into harmonious phrasing arches. No despair or forlornness in endless agony! At this tempo, the variation keeps its relation to the Waltz theme. Eusebius character. The wild and determined Florestan vs. Again as in variation VII , the artist separated the opponents in the dispute with little pauses. Real virtuosity at last! Variation XXV keeps the harmonic progression from the waltz in the right-hand chords, the rolling left-hand bass quavers are mere accompaniment. Beethoven specifies p , but tutte le corde and leggiermente.

Not a problem here, of course. Yet, he managed to keep the focus on the chords, subtle and inconspicuous! Variation XXVIII excels with rhythmic agility in its accented staccato sequences a second, minute memory lapse here probably went unnoticed by many in the audience. It felt as if the composer not the artist deliberately dropped the tension, let the momentum dissipate.

The explanation for this followed after a long general rest:. The C minor variation XXIX Adagio ma non troppo , shows warm, longing emotions, reflection, emerging memories, also melancholy, in a gentle dynamic arch. By far the longest of the variations. Of course, Konstantin Scherbakov did both repeats. The fugue variation XXXII followed after another, short pause the preceding ending was just too beautiful, too subtle! Carefully controlled dynamics also here. No furious keyboard thundering, but diligent phrasing, discreetely shaping every theme entry.

The cadenza and the closing formula gave another chance to indulge in the beautiful piano sound, the decaying resonances after the arpeggios. Rather, it seemed full of pensive moments, reflecting, sometimes almost moody, forlorn in memories. And the end felt relaxed, confident and comforting. The first 5 Bagatelles existed in sketches from no later than He wrote the last five 7 — 11 in He composed the final one, No. The complete set was published in Beethoven kept all his ideas and inventions in his endless sketchbooks, reluctant to throwing stuff away. And he kept screening that material again and again.

Nevertheless it was in his last years when Beethoven collected and arranged them into a set that he found worthy of publication. And it sure indicates how much I enjoyed the performance! Already Bagatelle 1 appeared as seen through the eyes of the mature composer: measured, mellow. It felt like memories from years ago, with wonderful pp sonority in the last bars.

Careful, diligent, not so much jolly and witty also No. And all so careful in the dynamics! The central No. In contrast, No. He played it much faster than Konstantin Scherbakov, though. With Douglas Whittaker, fl. Stassov, Op. Sung in Russsian and French. Benny Goodman,cl; Columbia SO, composer. Soloist: composer; Fanfare for the common man London SO, composer. Suzanne Danco , sop.

With the Paris Conservatoire O. Michel Dens , bar. Lamento 2. Marcia The war shall be damned 3. Epitaph Coupled with Bach Variations for large orchestra after themes by Carl Ph. With the Vienna PO.

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Dame Janet Baker,mez. Edward Elgar , Cello concerto, Op.

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With the Philharmonia O. Coupled with the Schubert Arpeggione Sonata in A min. With Gerald Moore,pf. Annie Fischer ,pf performs the Mozart Piano concertos Nos. Edwin Fischer ,pf plays the Mozart Piano concertos Nos. With a CO directed by the soloist Nos. Dietrich Fischer - Dieskau , bar. Edith Wiens, sop. With the Berlin RSO. Emil Gilels plays Piano concertos by Beethoven No. Coupled with Piano sonatas by Mozart No. Carlo M. Giulini conducting the Philharmonia O.

With the Chicago SO. An Ensemble directed by Michael Riesman. Coupled with solo Capriccio brillant, Op. Coupled with Arioso by Johann S.

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Dietrich Fischer-Dieskau, bar. Coupled with Symphony No. Coupled with the Mozart Piano concerto No. Hans W. Coupled with Roman Elegies for speaker, piano, harpsichord and double bass by Giselher Klebe. Recital by Angeka Hewitt ,pf: Johann S. Live recorded in during the Huy Festival Belgium. Paul Hindemith , String Quartets, Op. Telefunken 6.

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Johann S. Kay Griffel, contr. Byron Janis , pf plays both Piano concertos by Franz Liszt. With the Royal PO. With the Philharmonia and New Philharmonia O. Gidon Kremer , vn perfoms the Mozart Violin concerto No. With Tatjana Grindenko, vn. Lotte Lehmann , sop. Christa Ludwig , contr. Live recorded in Vienna April Gustav Mahler , Symphony No.

Witold Malcuzynski , pf plays 15 Chopin Mazurkas Nos.


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Igor Markevitch conducts the Brahms Symphony No. With the O. Elisabeth Speiser,sop. Ria Bollen, contr. Recorded during the Lausanne International Festival. Felix Mendelssohn , Piano Trios Nos. Coupled with the Fantaisie in C, D. Wolfgang A. Mozart , Violin concertos Nos.

Running catalogue No.142 (May 12222)

Maria Stader,sop. Birgit Nilsson , sop. Serge Prokofiev , Piano concertos Nos. Henry Purcell , The Fairy Queen complete. Sergei Rachmaninov , Works for solo piano: Morceaux de fantaisie, Op. Ruth Laredo, pf. Suzanne Danco,sop.

https://unrialenews.tk George Rochberg , Violin concerto Coupled with Sonata da Camera by Bohuslav Martinu.

Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI) Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI)
Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI) Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI)
Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI) Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI)
Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI) Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI)
Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI) Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI)
Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI) Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI)
Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI) Piano Sonata No. 7, Op. 10 no. 3 (Beethovens Werke, Serie XVI)

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