Sonata cycle
October 30, 2009
During Beethoven's lifetime, piano construction developed at a rapid rate, much as computer technology has done in our era. For the first time, a keyboard instrument became capable of being played not just loudly or softly, but with a wide range of dynamic nuances. Beethoven used this as an opportunity to experiment with new expressive possibilities on the piano.
"In his music, Beethoven always tried to take things to the limit: not just the formal limit, but also the limit of the instruments available to him," Ronald Brautigam said in an interview with DW.
Like Beethoven, Brautigam - the "king of that strange period beast, the fortepiano," as The Times once called him - went to the limits of what the fortepiano has to offer. He gave a spirited, fearless account of the "Waldstein" Sonata, with glistening, seemingly endless chains of trills and glissandi. In the lyrical "Pastoral," he played with an enchantingly cantabile touch, drawing silvery, lustrous sounds from the instrument.
Program:
Ludwig van Beethoven
Piano Sonata No. 11 in B-flat major Op. 22
Piano Sonata No. 15 in D major Op. 28, “Pastoral“
Piano Sonata No. 27 in E minor Op. 90
Piano Sonata No. 21 in C major Op. 53, “Waldstein Sonata“
Performed by:
Ronald Brautigam, fortepiano
Performed on September 24, 2009 at the Beethoven-Haus Bonn and recorded by Deutsche Welle.
Marita Berg/gz/kjb