Ludwig van Beethoven: Piano Sonatas Nos. 23, 30 & 32 Jimin Oh-Havenith

• Ludwig van Beethoven (1770 - 1827): Piano Sonata No. 23 in F Minor, Op. 57 'Appassionata':
• 1Piano Sonata No. 23 in F Minor, Op. 57 'Appassionata': I. Allegro assai11:04
• 2Piano Sonata No. 23 in F Minor, Op. 57 'Appassionata': II. Andante con moto05:43
• 3Piano Sonata No. 23 in F Minor, Op. 57 'Appassionata': III. Allegro ma non troppo - Presto08:36
• Piano Sonata No. 30 in E Major, Op. 109:
• 4Piano Sonata No. 30 in E Major, Op. 109: I. Vivace ma non troppo, sempre legato - Adagio espressivo03:48
• 5Piano Sonata No. 30 in E Major, Op. 109: II. Prestissimo02:46
• 6Piano Sonata No. 30 in E Major, Op. 109: III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo02:24
• 7Piano Sonata No. 30 in E Major, Op. 109: III. Variation I. Molto espressivo01:57
• 8Piano Sonata No. 30 in E Major, Op. 109: III. Variation II. Leggieramente01:39
• 9Piano Sonata No. 30 in E Major, Op. 109: III. Variation III. Allegro vivace00:26
• 10Piano Sonata No. 30 in E Major, Op. 109: III. Variation IV. Un poco meno andante ciò è un poco più adagio come il tema02:44
• 11Piano Sonata No. 30 in E Major, Op. 109: III. Variation V. Allegro, ma non troppo00:58
• 12Piano Sonata No. 30 in E Major, Op. 109: III. Variation VI. Tempo primo del tema01:54
• 13Piano Sonata No. 30 in E Major, Op. 109: III. Cantabile01:30
• Piano Sonata No. 32 in C Minor, Op. 111:
• 14Piano Sonata No. 32 in C Minor, Op. 111: I. Maestoso - Allegro con brio ed appassionato10:06
• 15Piano Sonata No. 32 in C Minor, Op. 111: II. Arietta. Adagio molto semplice cantabile20:52
• Total Runtime01:16:27

Info for Ludwig van Beethoven: Piano Sonatas Nos. 23, 30 & 32

Jimin Oh-Havenith interprets three of Beethoven’s most famous, beautiful, but also most demanding piano sonatas. Her carefully chosen tempi allow for a vivid and transparent presentation of the thematic structures and internal developments.

This new recording by Jimin Oh-Havenith presents three of Beethoven's most famous, beautiful, but also most demanding piano sonatas. In addition to the dramatic F minor Sonata, Op. 57 ('Appassionata'), the pianist plays the late Sonatas in E major, Op. 109, and C minor, Op. 111, the last of the 32 piano sonatas.

The exploration and crossing of boundaries can be seen as a central motif in Beethoven's compositions in general, and in his piano music in particular. While the variation movement in the 'Appassionata' is flanked by rugged outer movements and the ending is a lively dance, Opp. 109 and 111 close with extended, expressive variation movements. In the finale of Op. 109 and in the simple, yet rapturously poignant Arietta of Op. 111 with the metamorphoses in its five variations, Beethoven enters uncharted territory. Here, Beethoven not only reaches expressive extremes, but also challenges his instrument: the keyboard range is stretched to the limit. The listener experiences the end of the C minor Sonata as a farewell to the world and to the genre of the sonata itself, but also as a beginning of something new and unknown.

Jimin Oh-Havenith's interpretation convinces through carefully chosen tempi, which facilitate a vivid and transparent presentation of the thematic structures and internal developments. The clarity and expressiveness of her playing provides an immediate experience of Beethoven's inexhaustible imaginative power and the transformation of the poetic idea.

Jimin Oh-Havenith, piano

Jimin Oh-Havenith
Eine einzigartige Klangfülle und außerordentliche Texttreue bestimmen Jimin Oh-Haveniths Klavierspiel. Ihr warmer Klang, der immer unmittelbar mit präziser rhythmischer Struktur verbunden ist, lässt die Musik in all ihrem Reichtum lebendig werden. Synchronizität von Klang und Rhythmus, nicht willkürliche Veränderungen von Tempo und Dynamik bestimmen die Klarheit ihrer Interpretation, wie beispielsweise bei Jimin Oh-Haveniths aktueller Einspielung von Beethovens letzter Sonate op. 111.

JImin Oh-Havenith wurde in Seoul, Südkorea geboren. 1979 begann sie ihr Klavierstudium bei Jin-Woo Chung an der Seoul National University. 1981 bis 1984 setzte sie ihr Studium bei Aloys Kontarsky an der Musikhochschule Köln fort. Zusätzlich zu ihrer Konzerttätigkeit als Solistin sowie Rundfunk- und Plattenaufnahmen, konzertierte sie auch als Klavier-Duo mit ihrem Mann Raymund Havenith († 1993). Die Pianistin lehrte an der Hochschule für Musik Mainz und der Hochschule für Musik und Darstellende Kunst, Frankfurt am Main.

Musik kommt für mich dem Atem gleich. Sie ist wie ein klingendes, ausgeformtes Atmen – und somit existentieller Teil und Notwendigkeit des Lebens. Der Klang der Musik bringt die Seele zum Atmen. In diesem Atmen höre ich den gewaltigen Klang der Stille.“ (Jimin Oh-Havenith)

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