Composer: Ludwig van Beethoven
Performer: Maurizio Pollini
Format: FLAC (tracks)
Label: Deutsche Grammophon
Catalogue: 4796915
Release: 2016
Size: 2.08 GB
Recovery: +3%
Scan: yes
Piano Sonata No. 28 in A major, Op. 101
01. I. Etwas lebhaft und mit der innigsten Empfindung (Allegretto ma non troppo)
02. II. Lebhaft, marschmäßig (Vivace alla marcia)
03. III. Langsam und sehnsuchtsvoll (Adagio ma non troppo, con affetto)
04. IV. Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro)
Piano Sonata No. 29 in B-flat Major, Op. 106 “Hammerklavier”
05. I. Allegro
06. II. Scherzo. Assai vivace – Presto – Prestissimo – Tempo I
07. III. Adagio sostenuto
08. IV. Largo – Allegro risoluto
Piano Sonata No. 30 in E major, Op. 109
09. I. Vivace, ma non troppo – Adagio espressivo – Tempo I
10. II. Prestissimo
11. III. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo)
Piano Sonata No. 31 in A-flat major, Op. 110
12. I. Moderato cantabile molto espressivo
13. II. Allegro molto
14. III. Adagio ma non troppo – Fuga. Allegro ma non troppo
Piano Sonata No. 32 in C minor, Op. 111
15. I. Maestoso – Allegro con brio ed appassionato
16. II. Arietta – Adagio molto semplice e cantabile
Because Beethoven’s late piano sonatas are universally revered, performances of these works often invite passionate disagreements about the proper way to interpret them. Such was the case with Maurizio Pollini’s recordings (1975-1977), and the controversy surrounding them has never fully abated. While these performances are polished to an extent seldom realized on other recordings, it was this pristine quality itself that invited criticism. Pollini was alleged to have objectified the music and detached himself emotionally from his performances, leaving only cold, analytical readings without a trace of feeling. In defense, it should be pointed out that many previous performances were overly burdened with Romantic interpretations and pretensions, and that Pollini performed a great service by presenting the sonatas in as accurate and clean a manner as possible, without grandiose effects. His performances are astonishingly lucid and flowing, especially in the many contrapuntal passages that regularly appear as features of these works. The last five sonatas are admirably served by Pollini’s control and precision, and whatever doubts are held about his emotional involvement may be dismissed when the slow movements of Opp. 109 and 111 are heard. These are sublime performances with a high level of immediacy and skill and are strongly recommended.