Beethoven: The Late Piano Sonatas Nos. 28-32 Maurizio Pollini

• Ludwig van Beethoven (1770 - 1827): Piano Sonata No.28 In A, Op.101:
• 1 1. Etwas lebhaft und mit der innigsten Empfindung (Allegretto ma non troppo) 03:47
• 2 2. Lebhaft, marschmäßig (Vivace alla marcia) 06:14
• 3 3. Langsam und sehnsuchtsvoll (Adagio ma non troppo, con affetto) 02:45
• 4 4. Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro) 07:33
• Piano Sonata No.29 In B-Flat, Op.106 -"Hammerklavier":
• 5 1. Allegro 10:46
• 6 2. Scherzo (Assai vivace - Presto - Prestissimo - Tempo I) 02:43
• 7 3. Adagio sostenuto 17:11
• 8 4. Largo - Allegro risoluto 12:24
• Piano Sonata No.30 In E Major, Op.109:
• 9 1. Vivace, ma non troppo - Adagio espressivo - Tempo I 03:15
• 10 2. Prestissimo 02:16
• 11 3. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) 12:41
• Piano Sonata No.31 In A-Flat Major, Op.110:
• 12 1. Moderato cantabile molto espressivo 06:04
• 13 2. Allegro molto 01:57
• 14 3. Adagio ma non troppo - Fuga (Allegro ma non troppo) 09:45
• Piano Sonata No.32 In C Minor, Op.111:
• 15 1. Maestoso - Allegro con brio ed appassionato 08:46
• 16 2. Arietta (Adagio molto semplice e cantabile) 17:27
• Total Runtime 02:05:34

Info for Beethoven: The Late Piano Sonatas Nos. 28-32

„Because Beethoven's late piano sonatas are universally revered, performances of these works often invite passionate disagreements about the proper way to interpret them. Such was the case with Maurizio Pollini's recordings (1975-1977), and the controversy surrounding them has never fully abated. While these performances are polished to an extent seldom realized on other recordings, it was this pristine quality itself that invited criticism. Pollini was alleged to have objectified the music and detached himself emotionally from his performances, leaving only cold, analytical readings without a trace of feeling. In defense, it should be pointed out that many previous performances were overly burdened with Romantic interpretations and pretensions, and that Pollini performed a great service by presenting the sonatas in as accurate and clean a manner as possible, without grandiose effects. His performances are astonishingly lucid and flowing, especially in the many contrapuntal passages that regularly appear as features of these works. The last five sonatas are admirably served by Pollini's control and precision, and whatever doubts are held about his emotional involvement may be dismissed when the slow movements of Opp. 109 and 111 are heard. These are sublime performances with a high level of immediacy and skill and are strongly recommended.“ (Blair Sanderson, AMG)

„ . . magisterial performances . . .“ (BBC Music Magazine, London)

„Maurizio Pollini's Gramophone Award-winning late Beethoven [is] fairly indispensable and should prove popular with discerning collectors who seek 'classic' mid-price recordings of this repertoire.“ (Robert Cowan, Gramophone, London)

Maurizio Pollini, piano

Maurizio Pollini
was born in 1942 and studied with Carlo Lonati and Carlo Vidusso. After winning First Prize at the 1960 Warsaw Chopin Competition, he went on to establish an international career of the greatest importance, performing in the world’s major concert halls and working with the most distinguished orchestras and conductors including Karl Boehm, Herbert von Karajan, Claudio Abbado, Pierre Boulez, and Riccardo Muti. He was awarded the Vienna Philharmonic Ehrenring in 1987 after performing the Beethoven concertos in New York, the Ernst-von-Siemens Music Prize in Munich in 1966, the ‘A Life for Music – Arthur Rubinstein’ Prize in Venice in 1999 and the Arturo Benedetti Michelangeli Prize in Milan in 2000.

In 1995 Maurizio Pollini opened the Festival that Tokyo dedicated to Pierre Boulez and, in the same year, he devised and performed in his own concert series at the Salzburg Festival. He gave similar concert series in New York at Carnegie Hall, in Paris for la Cité de la Musique,Tokyo, and in Rome at the Parco della Musica. The programmes included both chamber and orchestral performances and mirrored his wide musical tastes from Gesualdo and Monteverdi to the present. In summer 2004 he was the ‘Artist Etoile’ at the International Festival Lucerne, performing a recital and concerts with orchestra conducted by Claudio Abbado and Pierre Boulez.

Maurizio Pollini’s repertoire ranges from Bach to contemporary composers (including première performances of Manzoni, Nono and Sciarrino) and includes the complete Beethoven Sonatas, which he has performed in Berlin, Munich, Milan, New York, London, Vienna and Paris. He has recorded works from the classical, romantic and contemporary repertoire to worldwide critical acclaim. His recordings of the complete works for piano by Schoenberg, and of works by Berg, Webern, Manzoni, Nono, Boulez and Stockhausen, are a testament to his great passion for music of the 20th century. Most recently Maurizio Pollini was responsible for the commissioning of the expansion of the original Grido (String Quartet No.3) by Helmut Lachenmann - a pupil of Nono - into Double (Grido II) for a 48-strong string orchestra.

In 2007 Pollini was awarded a Grammy for best Instrumental Soloist Performance and the Disco d’Oro; he received the 2006 Echo Award in Germany, and the Choc de la Musique, Victoires de la Musique and Diapason d’Or de l’Année in France. Most recently he won the Echo Klassik award in the Best Concerto category for his recording of the Brahms First Piano Concerto with Christian Thielemann and the Staatskapelle Dresden.

In 2010 Pollini performed the Chopin Birthday Recital on the anniversary of the composer’s birth in the International Piano Series in London as part of the Chopin 200 celebrations and last season he played a highly successful series of five recitals in the Piano Series at the Royal Festival Hall - The Pollini Project – charting the development of piano music from Bach to Boulez, for which he won the prestigious Royal Philharmonic Society Instrumentalist award.

Booklet for Beethoven: The Late Piano Sonatas Nos. 28-32