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Kodama: Beethoven – Piano Sonatas no.30, 31, 32 (24/96 FLAC)

Kodama: Beethoven - Piano Sonatas no.30, 31, 32 (24/96 FLAC)

Kodama: Beethoven – Piano Sonatas no.30, 31, 32 (24/96 FLAC)

Composer: Ludwig van Beethoven
Performer: Mari Kodama
Format: FLAC (tracks)
Label: Pentatone
Catalogue: PTC5186389
Release: 2012
Size: 1.07 GB
Recovery: +3%
Scan: yes

Piano Sonata No. 30 in E major, Op. 109
01. I. Vivace ma non troppo
02. II. Prestissimo
03. III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo

Piano Sonata No. 31 in A flat major, Op. 110
04. I. Moderato cantabile molto espressivo
05. II. Allegro molto
06 .III. Adagio ma non troppo
07. III. Fuga. Allegro ma non troppo

Piano Sonata No. 32 in C minor, Op. 111
08. I. Maestoso – Allegro con brio ed appassionato
09. II. Arietta. Adagio molto semplice e cantabile

This release is the latest addition to the complete Beethoven piano sonatas cycle by Kodama. Her previous releases in this series have been well received. “Never bearing down on heavily on the music, she always allows Beethoven his own voice.” Gramophone

The late piano sonatas of Ludwig van Beethoven are among his most profoundly moving and satisfying works, and something worthwhile usually can be derived from most renditions, even average performances that don’t necessarily have the best sound quality. However, in the case of a sensitive artist performing with depth of feeling and brilliant technique, and being recorded with the best possible audio reproduction, the results can be quite impressive. PentaTone’s hybrid SACD of the piano sonatas, Opp. 109, 110, and 111 is an excellent presentation of Mari Kodama’s marvelous interpretations of these masterpieces, and one can scarcely ask for a better recording in terms of the music and sound quality. Not only does Kodama apply a keen intellect and mature emotion to her playing, and demonstrate a spectacular technique, she actually gets the music to sound precisely as written. All of Beethoven’s rhythmic oddities and unexpected syncopations work, and Kodama’s meticulous sense of the beat keeps them buoyant and surprising because a steady pulse is always evident. She never obscures Beethoven’s counterpoint, even if to do so would make better dramatic sense, and the clarity of her articulation and phrasing makes it possible to hear everything, including the awkward voice leading in the fugues. Yet under it all is an expressive coherence that makes each sonata feel whole and meaningfully connected to the larger body of Beethoven’s keyboard works. This is visionary music, and Kodama perceives and conveys everything Beethoven intended. Highly recommended.

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