Jimin Oh-Havenith -Klaviersonaten-Sonaten Opp.109,111,57 Appass -Audite Musikproduktion CD Grooves.land/Playthek

Details / Tracklist:

Piano Sonata No. 23 in F Minor, Op. 57 'Appassionata'
01. "I. Allegro assai"
02. "II. Andante con moto -"
03. "III. Allegro ma non troppo - Presto"
Piano Sonata No. 30 in E Major, Op. 109
04. "I. Vivace ma non troppo, sempre legato - Adagio espressivo"
05. "II. Prestissimo"
06. "III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo"
07. "III. Variation I. Molto espressivo"
08. "III. Variation II. Leggieramente"
09. "III. Variation III. Allegro vivace"
10. "III. Variation IV. Un poco meno andante ci? ? un poco pi? adagio come il tema"
11. "III. Variation V. Allegro, ma non troppo"
12. "III. Variation VI. Tempo primo del tema"
13. "III. Cantabile"
Piano Sonata No. 32 in C Minor, Op. 111
14. "I. Maestoso - Allegro con brio ed appassionato"
15. "II. Arietta. Adagio molto semplice cantabile"

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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 it's 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.

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ADT20047

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Jimin Oh-Havenith
Klaviersonaten-Sonaten Opp.109, 111, 57 Appass

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