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BEETHOVEN OPPITZ - PIANO SONATAS 12 13 14 15 CD

BEETHOVEN OPPITZ - PIANO SONATAS 12 13 14 15 CD

$46.99

Other Details

Artist:

BEETHOVEN / OPPITZ

Title:

PIANO SONATAS 12 13 14 15

Genre:

CLASSICAL / CHAMBER MUSIC & RECITALS

SKU:

4010276017141

Estimated Local Delivery:

4 - 8 Business Days

Quantity:

Description

SKU/Barcode: 4010276017141

This is the fourth volume in an ongoing cycle of Beethoven sonata recordings by German pianist Gerhard Oppitz, a series whose outlines are now becoming clearer. Oppitz seems at pains to avoid the imposition or even the emergence of an individual personality on his performances. Yet neither does he strive to be neutral, to give the listener "just the music"; his performances are unusual in various ways. Oppitz thinks through the relationships among the movements of Beethoven's sonatas, reaching conclusions that often differ from the general run. He never addresses the keyboard with Lisztian flourishes, and all the performances here might be called restrained. The attraction of this particular disc for casual buyers will be the "Moonlight" sonata, the Piano Sonata No. 14 in C sharp minor, Op. 27/2. This sonata, like its E flat major companion, was marked by Beethoven as a sonata "quasi una fantasia," and Oppitz extends the fantasy-like aspect to all four of these works from the end of Beethoven's early period. Movements, such as the first movement of the Piano Sonata No. 12 in A flat major, Op. 26, or that of Op. 27/1, that are often taken as artless pleasingly emerge in Oppitz' reading with the quality of slightly free-form romantic dreams. In Op. 26 this results in an unconventional relationship among the movements; the focus of the work shifts to the opening set of variations, while Oppitz breezes quickly through the third-movement funeral march, apparently thinking the form a conventional one in the years around 1800, not taken up out of any specific grief on Beethoven's part. The Op. 27/1 sonata becomes the dominant piece in the Op. 27 pair, with the "Moonlight" opening movement coming as a lovely relaxation of tension. The Piano Sonata No. 15 in D major, Op. 28, the "Pastoral," is the weakest one in the set; it lacks warmth, and it's just not very pastoral. Oppitz's set may be of the sort that will appeal more to pianists than to general listeners; the interpretations here do not jump out from the crowd of others available, but they are well considered and offer intriguing insights.
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