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ZT 0074
BEETHOVEN, L. van: Piano Sonatas Nos. 30-32 (Lubimov)

BEETHOVEN, L. van: Piano Sonatas Nos. 30-32 (Lubimov)

The Classical Shop
release date: September 2013

Originally recorded in 2013

Artists:

Alexei Lubimov

Soloist

Record Label
Zig-Zag Territories

Genre:

Instrumental


Classical

Total Time - 65:58
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BEETHOVEN, L. van: Piano Sonatas Nos. 30-32 (Lubimov)

     
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LUDWIG VAN BEETHOVEN

     
 

Piano Sonata No. 30 in E major, Op. 109

 
1 I. Vivace ma non troppo 6:35
2 II. Prestissimo 12:39
     
 

Piano Sonata No. 31 in A flat major, Op. 110

 
3 I. Moderato cantabile molto espressivo 6:27
4 II. Allegro molto 2:33
5 III. Adagio ma non troppo 3:45
6 III. Fuga: Allegro ma non troppo 7:37
     
 

Piano Sonata No. 32 in C minor, Op. 111

 
7 I. Maestoso - Allegro con brio ed appassionato 9:21
8 II. Arietta: Adagio molto semplice e cantabile 17:01
     
 Alexei Lubimov Soloist


"These sonatas to be played ‘uncomfortably’, ‘intangibly’… transcend the piano and its own time." Alexei Lubimov

The Alexei Lubimov title Impromptus of Schubert (2010) was welcomed by the press:

"...the result is breathtaking. Aside from the crispest E- flat Impromptu, the bitter grandeur of the A-flat major, and the delectable translucency of the instruments, what is truly startling is the "sung" melody of the G flat major. Stunning."  The Independent on Sunday

"...his is altogether a beautiful recital by a master-pianist, and while ther’s no shortage of fine recordings of these famous pieces, there has been non in my experience to equal Lubimov on instruments of Schubert’s day". BBC Magazine *****

"During the same recording session in Haarlem July 2009, Alexei Lubimov took on with the last three sonatas of Beethoven, Beethoven’s musical testimony musical which Alexei Lubimov plays with all the mastery of a great russian pianist "a kind of russian Pollini..."  Alain Lompech - Diapason.

“They must be played ‘uncomfortably’, ‘intangibly’; nothing in them reveals itself, nothing ‘plays itself’, and one must take enormous pains to ‘elucidate’ the text for oneself… these sonatas are divorced from the keyboard instrument itself… as if the musical content of these sonatas ‘disregards’ the instrument to hand, overcoming its material nature and its historical characteristics… I felt still more strongly how astonishing, how unusual the compositional material is and how tenaciously Beethoven seeks to consolidate, extend, and transform for his own idiosyncratic purposes the forms and structural principles he inherited from his predecessors.” Alexei Lubimov

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