Скачать или смотреть Ludwig van Beethoven "Piano Sonata No. 11 in B-flat Major, Op. 22"

Beethoven's 32 Piano Sonatas (4 Volumes) - Volume 2
Performed by pianist David Allen Wehr
Available on Amazon: https://www.amazon.com/Beethovens-32-...

Mr. Wehr's technically dazzling and interpretively probing, playing is by turns, exciting, powerful, and gripping... He plays these sonatas as if his life depended on it... He breathes new life into the Moonlight and Pathetique sonatas... This is altogether splendid and exalted Beethoven playing, Don't miss this. --American Record Guide

A large-scaled, imaginatively phrased, virile account of the "Pathétique" sonata begins the second double-CD installment of David Allen Wehr's Beethoven cycle. With little help from the sustain pedal, Wehr's sharp accents, hair-trigger dynamics, and incidental inflections vivify the outer movements' dramatic mood swings. The central Andante cantabile is not too fast, not too slow, and is as heartfelt and flexible as the finest performances on disc. Linear clarity and rigorous tempo relationships cast an intellectual hue on Op. 26's opening variation movement…The Funeral March makes a fleeter, less grim impression than you'd expect, while Wehr's steady sobriety and carefully differentiated articulation impart a kind of symphonic gravitas to the Allegro finale that we rarely encounter. Both Op. 27 sonatas stand out for the pianist's controlled freedom in the opening movements. … How will Wehr fare in the great middle-period sonatas? Stay tuned for Volume 3; I know I will. --Jed Distler, ClassicsToday.com

I praised Volume 1 of this series (Nov/Dec 2006) and was very happy to see Volume 2 arrive for review. Wehr is continuing his series in chronological order, as opposed to the nor­mal opus number order. Considering Beetho­ven s compositional style, 24 and 25 belong here and not following the Appassionata. I have never listened to 25 right after 15, but it sure makes perfect sense. Many of the sonatas with titles are included in this volume: Pathe­tique, Funeral March, Moonlight, and Pastorale. The superlatives I used for Volume 1 are all applicable here; Wehr exhibits the same high level of interpretive and technical skill. His approach is to execute Beethoven s text as faithfully as humanly possible, letting these masterpieces speak for themselves. The exem­plary sound captured from his Yamaha CF111S and his perceptive liner notes complete a delightful release. I suspect that this series will become my reference set. While each of the ten sonatas here has special moments worthy of mention, I will limit myself to a discussion of the first Opus 27 sonata (No 13). It is the first Sonata quasi una fantasia and, in many ways, it is more revolu­tionary than its much better known compan­ion, the Moonlight. Its four sections are to be played without pause, and Beethoven makes the most of contrasts, even in each section. Wehr doesn t miss a thing, beginning with the quiet Andante opening, interrupted by an Alle­gro of much energy. The scherzo section is particularly notable, both for Beethoven s genius and Wehr s performance. In the open­ing sections, the hands are identical in rhythm and articulation. The contrast is a bumptious, galloping trio. The experimental Beethoven finds a unique way to vary the opening sec­tions on the return of the scherzo. It starts as a traditional da capo form, but rather than sim­ply replaying the first two sections without repeats, Beethoven adds a written out repeat of the first section where the performer is asked to alternate hands rhythmically and keep the left hand constantly staccato, while the right hand is phrased. This continues through the second section (not repeated) and into an added coda. Here Wehr s ability to exe­cute Beethoven s clear desires of articulation a t the requisite Allegro molto e vivace tempo is astounding. A beautifully phrased Adagio con espressione section ends with high-register trills and an elegantly shaped cadenza leading to the final rondo section. Wehr s consummate technique hides the substantial, difficulties of this rondo: many episodes require both hands to play right on top of each other, several times the traditional left hand Alberti bass figura­tions are inverted, and leaps abound from one register of the piano to another. The big climax doesn t lead directly into the Presto coda as expected. Beethoven inserts a recap of the Adagio section before the headlong rush to the final cadence. Every one of these is handled with the utmost artistry and musicality. Given Wehr s performance, one can only wonder why this masterpiece is not better known. Needless to say, he lavishes the same detail and care on each of the sonatas. I enjoy all the ones I have and eagerly await the next installment --Harrington, American Record Guide, March/April 2007