Beethoven - Piano Sonatas Nos. 29 ’Hammerklavier’, 30, 31, 32 (.: Solomon Cutner / Remastered)

Beethoven: Piano Sonatas by Solomon Cutner 🎧 Qobuz Amazon Music 🎧 Tidal Apple Music 🎧 Deezer Idagio (coming soon) 🎧 Spotify Youtube Music 🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic日本… Ludwig Van Beethoven (1770-1827) Piano Sonatas Nos. 29 ’Hammerklavier’, 30, 31, 32 Click to activate the English subtitles for the complete presentation (00:00-05:10) 00:00 Piano Sonata No. 29 in B flat Major, Op. 106 “Hammerklavier“ - I. Allegro 10:06 Piano Sonata No. 29 in B flat Major, Op. 106 “Hammerklavier“ - II. Scherzo: Assai vivace Piano Sonata No. 29 in B flat Major, Op. 106 “Hammerklavier“ - III. Adagio sostenuto: Appassionato e con molto sentimento 12:37 Piano Sonata No. 29 in B flat Major, Op. 106 “Hammerklavier“ - III. Adagio sostenuto: Appassionato e con molto sentimento 34:56 Piano Sonata No. 29 in B flat Major, Op. 106 “Hammerklavier“ - IV. Introduzione, Largo: Un poco più vivace, Allegro risoluto, Tempo I, Prestissimo, Allegro risoluto, Fuga a tre voci, con alcune licenza 47:38 Piano Sonata No. 30 in E Major, Op. 109 - I. Vivace ma non troppo, sempre legato, Adagio espressivo 51:14 Piano Sonata No. 30 in E Major, Op. 109 - II. Prestissimo (Remastered 2023, London 1951) 53:29 Piano Sonata No. 30 in E Major, Op. 109 - III. Gesangvoll, mit innigster Empfindung - Tema: Andante molto cantabile ed espressivo, Variazioni I - VI 1:06:41 Piano Sonata No. 31 in A flat Major, Op. 110 - I. Moderato cantabile: Molto espressivo 1:13:48 Piano Sonata No. 31 in A flat Major, Op. 110 - II. Allegro molto - Coda: Poco più mosso 1:15:47 Piano Sonata No. 31 In A flat Major, Op. 110 - III. Adagio, ma non troppo – Fuga: Allegro, ma non troppo 1:19:58 Piano Sonata No. 31 in A flat Major, Op. 110 - IV. Fuga: Allegro, ma non troppo - L’istesso tempo dell’ arioso - L’istesso tempo della fuga - Meno allegro 1:26:37 Piano Sonata No. 32 in C minor, Op. 111 - I. Maestoso: Allegro con brio ed appassionato 1:35:19 Piano Sonata No. 32 in C minor, Op. 111 - II. Arietta: Adagio molto, semplice e cantabile Complete Remastered edition (Beethoven: Piano Sonatas by Solomon Cutner) available on: Qobuz (Hi-Res 24/96), Amazon Music, Tidal, Deezer, Apple Music, Spotify, Youtube Music...: Piano: Solomon Cutner Recorded in 1951-56, at London New mastering in 2023 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : 🔊 Download CMRR’s recordings in High fidelity audio (QOBUZ) : ❤️ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) // Solomon Cutler (1902-1988) is among the most deeply revered of all pianists, a man whose career was tragically terminated by illness, but whose serene and magisterial performances place him among the keyboard immortals. Solomon’s approach to the last Beethoven’s sonatas, all of which he was fortunately able to record, is a fitting summa of his achievement, a crystallization of his artistry. Beethoven’s is, arguably, the greatest of all keyboard works and its defiance and profundity (the Adagio sostenuto was once described as ’like the icy heart of some remote mountain lake’) and final fugal ferocity make it, in Stravinsky’s words, “contemporary forever“. Beethoven’s remark, “here is a Sonata which will give hard work to the pianists when it is played fifty years hence“ is very much to the point. observed, destroys the arduous climb up Mount Everest by arriving at its summit by helicopter. Solomon was among the Hammerklavier’s greatest interpreters. Scrupulously true to Beethoven’s vision he avoids the quasi-impressionist veil thrown across the Adagio by other more romantically inclined pianists and, although his first movement Allegro with its opening fist-shaking gesture (later taken up by Brahms in his C major Sonata), is fiercely propelled it is less frantic than from Schnabel, who courageously tried to be true to Beethoven’s seemingly impossible metronome mark. The hair-pin crescendo and decrescendo markings in the Scherzo (later echoed in the Alla tedesca from the B flat major String Quartet, Opel 30), in the subsequent phantom chase and in a mighty sweep seemingly across the entire keyboard, are all conveyed with effortless resource, At the end you are suddenly made aware of what Michael Tippett once called “the colossal effort of interpretation“ disguised by an unassailable mastery. Click to activate the English subtitles for the complete presentation (00:00-05:10) Ludwig Van Beethoven PLAYLIST (reference recordings):