Édouard Herriot once said: ‘In Beethoven, everything comes from within. His model is not the rule of the schoolroom.’ This is particularly true of the late sonatas, which contain elements of both intimate journal (Romain Rolland saw in op.101 ‘a day in the inner life’ of Beethoven) and total experimentation (the variations of op.109!) before attaining the mystical serenity of the very last sonata, op.111. Here is Nikolai Lugansky’s long-awaited vision of this pianistic Everest.
LUDWIG VAN BEETHOVEN [1770-1827] Piano Sonata No. 28 Op. 101 A major / La majeur / A-Dur · I. Etwas lebhaft und mit der innigsten Empfindung. Allegretto ma non troppo (4'06) · II. Lebhaft. Marschmäßig. Vivace alla marcia (6'23) · III. Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto (3'25) · IV. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro (7'29) Piano Sonata No. 30 Op. 109 E major / Mi majeur / E-Dur · I. Vivace ma non troppo, sempre legato - Adagio espressivo (3'56) · II. Prestissimo (2'29) · III. Gesangvoll, mit innigster Empfindung. Thema : Andante molto cantabile ed espressivo - Var.I : Molto espressivo - Var.II : Leggiermente - Var.III : Allegro vivace - Var.IV : Etwas langsamer als das Thema - Var.V : Allegro, ma non troppo - Var.VI : Tempo I del tema/cantabile (14'05) Piano Sonata No. 32 Op. 111 C minor / Ut mineur / c-Moll · I. Maestoso - Allegro con brio ed appassionato (9'19) · II. Arietta. Adagio molto semplice cantabile Var.I : sempre ligato - Var.II : L'istesso tempo - Var.III : L'istesso tempo - Var. IV - Var. V - Coda (17'57)
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