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• W317030836 abstract "Last Three Piano Sonatas (Opuses 109, 110, 111). William Kinderman, piano. Hyperion CD55083. DDD. 67'04''. © 2002. $10.98. William Kinderman, currently Professor of Musicology and Chair of Musicology Division at University of Illinois, represents that rare breed of scholar/musician of whom with regard to pianists only Charles Rosen can presendy compare. Kinderman's Diabelli Variations, released by Hyperion a year ago, immediately took its place among top or three recordings of that immense work. And now we have another peak of pianoforte literature which can only confirm Kinderman's unique standing as an interpreter of Beethoven. Rock-ribbed purists may wonder at some of Kindermans emphases, articulations, tempo modifications, and timbral shifts in this account of Opuses 109, 110, and 111. Not unlike precedent-setting Artur Schnabel, whose epic recorded traversal of thirty-two remains for many of us oldsters a kind of non plus ultra of genre, Kinderman brings to these astonishing works an interpretive gloss very much his own. These are assertive, impetuous, dramatic performances; they take chances, and withal they reveal a pianistic technique second to none. virtuosity herewith displayed is hair raising. This is, one might say, muscular music making. Kinderman's forthright approach is immediately apparent in wonderfully wrought opening measures of Opus 109. movement is sometimes played with impressionistic delicacy: not so Kinderman. music becomes unexpectedly heroic. same intensity is lent Scherzo in which tempo is not so hurried that music loses its inherent weightiness, its seriousness. As Kinderman suggests in his superb program notes that accompany disc, third movement of Opus 109 may be thought of as consisting of sections, or as he puts it, two cycles of transformation: first five variations recast theme and develop its structures and character in a variety of expressive contexts, while sixth variation initiates a new series of changes compressed into a single continuous process that is guided by logical unfolding of rhythmic development. performance makes point grandly, and at last, ecstatically as, in pianists words, the theme virtually explodes from within, yielding, through a kind of radioactive break-up, a fantastically elaborate texture of shimmering, vibrating sounds. Kinderman plays opening four measures of Opus 110 more like an introduction that emphasizes motto theme than an integral part of first movements exposition. It is an imaginative, dramatic, opening of curtain. In fifth measure tempo picks up, but meter remains flexible in this fundamentally rhetorical account. development section, in particular, takes on character of an improvisation. It is as if composer were asking, Where next? (Note: in his New York Times review (1/19/03) of Lewis Lockwood's Beethoven, Music and Life, Michael Kimmelman quotes Lockwoods opinion that The piano sonatas remained genre most closely tied to improvisation, and in that respect, last sonatas, Kimmelman writes paraphrasing Lockwood, almost give impression of being made up on spot. …" @default.
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• W317030836 date "2002-12-01" @default.
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• W317030836 title "Beethoven, the Last Three Piano Sonatas" @default.
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