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貝多芬:第5,30號鋼琴奏鳴曲
金賢智 鋼琴
In the course of our discovery of early pianos, a question has gradually emerged: are we not too accustomed to the relatively homogeneous sound of modern pianos, that we hear in all concert halls? Has not this standardisation, although technically advantageous, impoverished the expression of the instruments, making them virtually uniform and devoid of personality? Fortepiano makers such as Walter, Stein and Graf, as well as composers like Beethoven, were engaged in a quest for new sounds, a quest that shaped the styles and aesthetics of their time. The relationship between the evolution of instruments and the development of a composer's style is not simply one of causality: rather, it is a mutual dialogue. Each technical advance opens the way to new expressive possibilities, with the makers themselves inspired by the innovative approaches to sound by the composers; creative minds transcending the limitations of the instruments of their time.
LUDWIG VAN BEETHOVEN
Sonate no 5 op. 10 no 1 (Pianoforte Walter 1792)
1. I. Allegro molto e con brio — 5'36
2. II. Adagio molto — 7'55
3. III. Finale : Prestissimo — 4'29
Sonate no 30 op. 109 (Pianoforte Graf 1826)
4. I. Vivace, ma non troppo / Adagio espressivo — 3'41
5. II. Prestissimo — 2'31
6. III. Gesangvoll, mit innigster Empfindung (Andante molto
cantabile ed espressivo) — 12'09
Var. I (Molto espressivo)
Var. II (Leggiermente)
Var. III (Allegro vivace)
Var. IV : Etwas langsamer als das Thema (Un poco meno
andante cio e un poco piu adagio come il tema)
Var. V (Allegro, ma non troppo)
Var. VI (Tempo I del tema)
Quinze Variations avec fugue op. 35 (Piano Steinway 2017)
7. Introduzione col basso del tema (Allegretto vivace) – Tema — 3'39
8. Var. I — 39''
9. Var. II — 53''
10. Var. III — 42''
11. Var. IV — 40''
12. Var. V — 46''
13. Var. VI – Var. VII (Canone all'ottava) — 1'21
14. Var. VIII — 45''
15. Var. IX — 44''
16. Var. X — 48''
17. Var. XI-XII — 1'28
18. Var. XIII — 43''
19. Var. XIV (Minore) — 1'15
20. Var. XV (Maggiore, largo) – Coda — 4'47
21. Finale : Alla fuga (Allegro con brio – Andante con moto) — 4'54
Duree totale — 60'45
HYUNJI KIM — piano |
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