Beethoven Piano Sonatas "Waldstein"," Appassionata", "Les Adieux" (豆瓣)

表演者: Wilhelm Kempff
流派: 古典
专辑类型: Import
介质: Audio CD
发行时间: 1988-01-05
出版者: DG
唱片数: 1
条形码: 0028941905321

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简介 · · · · · ·

　　“L’adolescent, l’homme, le dieu” was Liszt’s summarization of Beethoven’s phases of development so manifest in the 32 piano sonatas of less pursuit of variety within the Classical sonata mould but also as response to the keyboard itself in the crucial days when it gained increasing strength, compass and colour.
　　Dedicated to his patron Count Ferdinand von Waldstein, the ... (展开全部) 　　“L’adolescent, l’homme, le dieu” was Liszt’s summarization of Beethoven’s phases of development so manifest in the 32 piano sonatas of less pursuit of variety within the Classical sonata mould but also as response to the keyboard itself in the crucial days when it gained increasing strength, compass and colour.
　　Dedicated to his patron Count Ferdinand von Waldstein, the C major Sonata dates from 1803-04, not long after Beethoven had expressed dissatisfaction with earlier works and resolved to “start afresh”. Thouth in the Allegro con brio a chorale-like second subject in E briefly relieves tension, the movement’s sonata-form argument is primarily impelled by the taut, nervous energy of the opening subject in C. Its return in the recapitulation brings a startling shift of key. Rejecting wat is now known as the “Andante favori” as slow movement, Beethoven substituted an Intro uzione: Adagio molto compressing infinite mystery and wonderment into only 28 bars. “A flash of genius”, so Wilhelm Kempff once described it, “illuminating the twilight between minor and major.” The rondo-style finale grows from a simple theme said to have been suggested by a Rhenish folksong, though for Kempff it is more redolent of the world of Homer, “standing radiant as a temple in the first light of dawn.” It makes its way into both contrasting episodes besides launching the brilliant coda.
　　Though its title was no more than a publisher’s nickname, the F minor Sonata of 1804-05 epitomizes the stormy middle-period Beethoven combating fate. The first subject of the Allegro assai remains extraordinarily close-knit despite the unpredictable, questing nature of its several clauses. Storm clouds briefly yield to the warmer lyricism sonata-form argument is underlying disquiet long quelled. The ordered calm of the Andante con moto in D flat derives from Beethoven’s use of Classical variation form, with the foursquare theme retaining its essential dignity throughout steadily proliferating figuration. Then, dramatically shattering confidence with sinister chords of the diminished seventh, Beethoven plunges into an Allegro ma non troppo of relentless, mounting menace until, to quote Kempff, “amid the thunder of sudden sforzati the edifice of the world collapses. Lucifer once the bearer of light, plunges down from heaven into eternal darkness.”
　　The E flat Sonata of 1809-10 is one of the few with an overt programme. Its sketches were inscribed “The Farwell – on May 4 – dedicated to, and written from the heart for H(is) I(mperial) H(ighness)”: testimony that its inner message was for the Archduke Rudolph when this cherished pupil and friend was compelled to leave Vienna with the Imperial family before its invasion by Napoleon’s army. The Lebewohl(Farewell) motif heard at the outset of the Adagio introduction(the word itself is written over the notes) is cunningly woven into the main body of the first movement, a spirited sonata-form Allegro. The yearning of the central C minor Andante espressivo, originally entitled “Abwesenheit”(Absence), is intensified by chromaticism before a sudden, surprise return to the joyous E flat major of the finale(again in sonata form) entitled “Le Retour”. The Archduke himself in fact returned to Vienna after the signing of the peace treaty in October 1809.

曲目 · · · · · ·

Piano Sonata No. 21 In C Major, Op. 53, Waldstein-Sonate: 1. Allegro con brio
Piano Sonata No. 21 In C Major, Op. 53, Waldstein-Sonate: 2. Introduzione.
Adagio molto - attacca
Piano Sonata No. 21 In C Major, Op. 53, Waldstein-Sonate: 3. Rondo. Allegretto - Prestissimo
Piano Sonata No. 23 In F Minor, Op. 57, Appassionata: 1. Allegro assai
Piano Sonata No. 23 In F Minor, Op. 57, Appassionata: 2. Andante con moto -
attacca
Piano Sonata No. 23 In F Minor, Op. 57, Appassionata: 3. Allegro, ma non
troppo - Presto
Piano Sonata No .26 In E Flat Major, Op. 81A, Les Adieux: 1. Das Lebewhol (Les
Adiex). Adagio - Allegro
Piano Sonata No. 26 In E Flat Major, Op. 81A, Les Adieux: 2. Abwesenheit
(L'Absence). Andante espressivo
Piano Sonata No. 26 In E Flat Major, Op. 81A, Les Adieux: 3. Das Wiedersehn
(Le Retour). Vivacissimamente