While Ivo Pogorelich established his reputation performing mainly Romantic repertoire, his few forays into the Baroque reveal him to be an equally engaging- if not eccentric musician here as well. In quicker movements, such as the opening Preludes of the English Suites for instance Pogorelich's rhythmic control and contrapuntal clarity are simply amazing. Slower movements likewise are handled with remarkable intensity and delicacy. Pogorelich's performances of four Scarlatti sonatas concluding the program as well are wonderfully animated and knowing.
Emil Georg Conrad von Sauer (October 8, 1862 – April 27, 1942) was a notable German composer, pianist, score editor, and music (piano) teacher. He was a pupil of Franz Liszt and one of the most distinguished pianists of his generation. Josef Hofmann called von Sauer "a truly great virtuoso." Martin Krause, another Liszt pupil, called von Sauer "the legitimate heir of Liszt; he has more of his charm and geniality than any other Liszt pupil."From Wiki
Acclaimed French harpsichord player Christophe Rousset seems to have made only this one CD of Domenico Scarlatti sonatas to date. All but the last 4 sonatas were performed on a single manual Portuguese instrument dating from 1785. It has a silent action, a pungent bass and spicy, rich sonorities right up to the top treble. The other instrument has two manuals and, dating from 1756 England, is closer in time to Scarlatti's own era. Rousset makes good use of the resources the two manuals provide, and accidentally kicks the wooden casing, in K 140. Like most keyboard players who enjoy a challenge, he has a high old time with the frenetic repetitions and hand crossings in K 141 (which M.Argerich did on piano in a famous Youtube video btw)
Angela Hewitt is rapidly establishing herself as one of the great pianists of our age, her concert career expanding as rapidly as her discography, so it seems only right that, following her success in tackling one of the pillars of classical music in Bach, she should tackle another in Beethoven. This volume commences a survey of Beethoven sonatas which will couple the well known, in this case the ‘Appassionata’, with the comparatively neglected, here the grandest of Beethoven’s early sonatas, his Op 7. The disc is completed with a superb performance of Op 10/3, one of the early sonatas where Beethoven can be seen breaking the bounds of convention to create the style which would define the great works of his middle period.
A native of Bohemia, Leopold Koželuch made his name in Vienna, a thriving musical centre dubbed ‘the land of the Clavier’ by Mozart. The sonatas in this volume all appeared in 1784, meeting the challenge of Mozart’s popularity head-on. Koželuch was singularly adept at producing what was considered the ideal fortepiano sonata of the time, his high reputation making him an influential supporter of a new instrument capable of accommodating ‘the clarity, the delicacy, the light and shade he demanded in music’.
A revolutionary man living in a revolutionary time, Beethoven used the piano as his personal musical laboratory. The piano sonata became, more than any other genre of music, a place where he could experiment with harmony, motivic development, the contextual use of form, and, most important, his developing view of music as a self-expressive art. Beethoven's 32 piano sonatas include some of his most popular works as well as some of his most experimental. More than any other of his amazing works, Beethoven's piano sonatas are his personal testament, expressed in his own voice.