Volume V of András Schiff’s highly-acclaimed Beethoven cycle in chronological order includes four masterworks from the so called “middle” period on two CDs: The three sonatas of opus 31, written in 1801-02 shortly before the Eroica symphony, display varied characters, the first one being humorous and the second more dramatic, whereas the third sonata is tender and lyrical in the two initial, exuberant in the last two movements. The famous “Waldstein” sonata is a virtuosic highlight of Beethoven’s complete oeuvre with most extraordinary sonic inventions which betray an almost symphonic ambition.
Ludwig van Beethoven: The Piano Sonatas, Volume V
András Schiff
- CD 1
- Sonata No. 16 G major op. 31/1
- 1Allegro vivace07:09
- 2Adagio grazioso10:35
- 3Rondo. Allegretto07:08
- Sonata No. 17 d minor op. 31/2 "The Tempest"
- 4Largo - Allegro08:47
- 5Adagio08:14
- 6Allegretto07:37
- Sonata No. 18 E-flat major op. 31/3 "The Hunt"
- 7Allegro08:35
- 8Scherzo. Allegretto vivace04:56
- 9Menuetto. Moderato e grazioso04:10
- 10Presto con fuoco04:25
- CD 2
- Sonata No. 21 C major op. 53 "Waldstein"
- 1Allegro con brio10:48
- 2Introduzione. Adagio molto04:20
- 3Rondo. Allegretto moderato10:22
- 4Andante favori F major WoO 57 - Andante grazioso con moto
08:22
When András Schiff performed the “Waldstein sonata” in New York’s Avery Fisher Hall in November 2005, Jeremy Eichler, writing in the New York Times, spoke of a “breathtaking reading”: “This music of great depth and surface complexity seemed to unite Mr. Schiff’s strengths as a pianist. Even the most densely layered keyboard textures became a pellucid frame for the work’s tense and swirling energy.”
In the interview with Martin Meyer which is printed in the booklet to the present recording, Schiff himself emphasizes the special character of this famous op. 53: “The ‘Waldstein’ sonata is certainly an overwhelming work that was not only of great significance to the composer, but also occupies a special place in the history of piano music. Its spatial dimensions alone are enormous, and were only exceeded later by those of the ‘Hammerklavier’ sonata. Furthermore, Beethoven takes a giant stride forwards in respect of new-found pianistic sonorities, at the same time creating a huge ‘tone-poem’”. In the recital in the Zurich Tonhalle that was recorded live for this CD Schiff added the original slow movement from the “Waldstein” sonata, the “Andante favori” (which Beethoven later dismissed out of formal considerations), as an encore. “It was like a salute from another world” wrote Peter Hagmann in the Neue Zürcher Zeitung after this concert in December 2005.
Volume V of Schiff’s much acclaimed Beethoven cycle in chronological order, recorded live in Zurich, offers four masterworks dating from the so-called “middle period” i.e. the first years of the 19th century, when, among other groundbreaking compositions, the “Eroica” symphony was written. Like all his Beethoven recitals the programme was played on a Bösendorfer (op. 31) and on a Steinway grand (op. 53).
Op. 31 is the last group of three piano sonatas under one opus number in Beethoven’s oeuvre, once again highlighting the composer’s genius in creating very differently shaped works at the same time. Schiff: “The first sonata, in G major, is an extremely witty work, and perhaps Beethoven’s wittiest sonata altogether. It is also virtuosic and extrovert, and full of surprising inspirations. The second sonata, in d minor, carries the not inappropriate nickname of ‘The Tempest’. It is altogether dark in tone and its effect is highly dramatic, with a ‘literary’ mood throughout. And the third sonata, in E-flat major, is probably the hardest to paraphrase in words: on the one hand it seems tender, entreating and pleading, with a lyrical basic mood strongly in evidence; and on the other hand, in the scherzo and finale it maintains a high-spirited and urgent sense of motion.”
In November 2006 Schiff completed his cycle in major European cities with the final recital including sonatas opp. 109 to 111 while the touring activities with individual Beethoven programmes continue. In the season 2007/08 the pianist will be artist in residence with the Berlin Philharmonic. Please visit www.ecmrecords.com/tours
In the interview with Martin Meyer which is printed in the booklet to the present recording, Schiff himself emphasizes the special character of this famous op. 53: “The ‘Waldstein’ sonata is certainly an overwhelming work that was not only of great significance to the composer, but also occupies a special place in the history of piano music. Its spatial dimensions alone are enormous, and were only exceeded later by those of the ‘Hammerklavier’ sonata. Furthermore, Beethoven takes a giant stride forwards in respect of new-found pianistic sonorities, at the same time creating a huge ‘tone-poem’”. In the recital in the Zurich Tonhalle that was recorded live for this CD Schiff added the original slow movement from the “Waldstein” sonata, the “Andante favori” (which Beethoven later dismissed out of formal considerations), as an encore. “It was like a salute from another world” wrote Peter Hagmann in the Neue Zürcher Zeitung after this concert in December 2005.
Volume V of Schiff’s much acclaimed Beethoven cycle in chronological order, recorded live in Zurich, offers four masterworks dating from the so-called “middle period” i.e. the first years of the 19th century, when, among other groundbreaking compositions, the “Eroica” symphony was written. Like all his Beethoven recitals the programme was played on a Bösendorfer (op. 31) and on a Steinway grand (op. 53).
Op. 31 is the last group of three piano sonatas under one opus number in Beethoven’s oeuvre, once again highlighting the composer’s genius in creating very differently shaped works at the same time. Schiff: “The first sonata, in G major, is an extremely witty work, and perhaps Beethoven’s wittiest sonata altogether. It is also virtuosic and extrovert, and full of surprising inspirations. The second sonata, in d minor, carries the not inappropriate nickname of ‘The Tempest’. It is altogether dark in tone and its effect is highly dramatic, with a ‘literary’ mood throughout. And the third sonata, in E-flat major, is probably the hardest to paraphrase in words: on the one hand it seems tender, entreating and pleading, with a lyrical basic mood strongly in evidence; and on the other hand, in the scherzo and finale it maintains a high-spirited and urgent sense of motion.”
In November 2006 Schiff completed his cycle in major European cities with the final recital including sonatas opp. 109 to 111 while the touring activities with individual Beethoven programmes continue. In the season 2007/08 the pianist will be artist in residence with the Berlin Philharmonic. Please visit www.ecmrecords.com/tours
YEAR | DATE | VENUE | LOCATION | |
2023 | December 13 | Salzburger Marionettentheater | Salzburg, Austria | |
2023 | December 15 | BASF Feierabendhaus | Ludwigshafen, Germany | |
2023 | December 17 | Pierre Boulez Saal | Berlin, Germany | |
2023 | December 21 | Pierre Boulez Saal | Berlin, Germany | |
2023 | December 23 | Pierre Boulez Saal | Berlin, Germany | |
2023 | December 26 | Pierre Boulez Saal | Berlin, Germany | |
2023 | December 28 | Pierre Boulez Saal | Berlin, Germany | |
2023 | December 30 | Pierre Boulez Saal | Berlin, Germany | |
2024 | January 02 | Pierre Boulez Saal | Berlin, Germany | |
2024 | January 06 | Pierre Boulez Saal | Berlin, Germany | |
2024 | January 10 | Elbphilharmonie | Hamburg, Germany | |
2024 | February 01 | deSingel | Antwerp, Belgium | |
2024 | February 17 | Kulturpalast | Dresden, Germany | |
2024 | February 20 | Isarphilharmonie | Munich, Germany | |
2024 | February 21 | Liederhalle | Stuttgart, Germany | |
2024 | February 23 | deSingel | Antwerp, Belgium | |
2024 | February 25 | Konzerthaus | Dortmund, Germany | |
2024 | March 17 | Isarphilharmonie | Munich, Germany |