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BEETHOVEN OPPITZ - PIANO SONATAS 25 26 27 28 CD

BEETHOVEN OPPITZ - PIANO SONATAS 25 26 27 28 CD

$16.99

Other Details

Artist:

BEETHOVEN / OPPITZ

Title:

PIANO SONATAS 25 26 27 28

Genre:

CLASSICAL / CHAMBER MUSIC & RECITALS

SKU:

4010276017189

Estimated Local Delivery:

4 - 8 Business Days

Quantity:

Description

SKU/Barcode: 4010276017189

Listeners who have been following German pianist Gerhard Oppitz's ongoing cycle of Beethoven's piano sonatas may have an idea of what to expect from this group of works from the tail end of the composer's middle period: Oppitz is a careful, perceptive, somewhat restrained pianist who thinks through unusual relationships among movements and among the various parts of an individual movement. He is technically well equipped but neither cultivates a strong personal style nor is much concerned with emotional impact. The results in this group of sonatas are positive but mixed. In the Piano Sonata No. 27 in E minor, Op. 90, and the Piano Sonata No. 28 in A major, Op. 101, two works whose abrupt concision points directly toward Beethoven's late style, he delivers strong performances that reveal small details of the music. The second movement of the two-movement Op. 90 is especially fine. The movement opens with a na ve tune that could have come out of one of Mendelssohn's Songs Without Words but soon carries its strange, remote realms. The thorny details and shifts in expression are major pitfalls for the pianist, and it was the sense of trajectory he brought to this kind of movement that made people acclaim the Beethoven recordings of Artur Schnabel. With Oppitz you can have a coherent interpretation without the missed notes. Not so successful is the Piano Sonata No. 26 in E flat major, Op. 81a, "Les Adieux." This truly Romantic work, with expressions of farewell and reunion explicitly written into the score, lacks a sense of sweeping emotion in Oppitz' chilly reading, which loses the forest for the trees. The Piano Sonata No. 25 in G major, Op. 79, one of Beethoven's works for piano students, makes a brisk curtain-raiser, and the sound, recorded in a riding stadium that gives a slightly clearer, closer approach to the piano than does a big concert hall, continues to be a point in favor of the Oppitz series. Especially recommended to listeners who prefer the intellectual Beethoven to the Romantic Beethoven.
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