Piano Sonata No. 5 (Beethoven) - Wikipedia
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Piano Sonata No.5, Op.10 No.1 (Beethoven, Ludwig van)
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AmazonGlobal Ship Orders Internationally. Track List Franz Joseph Haydn - Ludwig van Beethoven - Wolfgang Amadeus Mozart - Total Playing Time 1: English German French Textural transparency, expressive economy, creative inspiration, high humour and strategically placed silences characterise these three Haydn, Beethoven and Mozart sonatas, as well as Rafal Blechacz's splendid, beautifully recorded interpretations. While he clearly enjoys his virtuosity, the pianist almost always directs his fingers towards musical ends. The first movement's unexpected twists and turns and the Rondeau finale's rests couldn't be more effectively placed in time, while the central Andantino's vocal eloquence and dramatic touches organically fuse in Blechacz's intelligent hands.
What is most immediately striking is the crisp buoyancy of Blechacz's articulation, reinforced by the upfront clarity of the recorded sound, which has a characteristic 'ping' that suits much of the music.
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The DG engineers avoid any hint of soft-focus glow. The playing itself is full of flair and charm.
With brisk tempos he conveys both serious intent and huge enjoyment, giving the music shape and driving momentum. The Mozart brims with "joie de vivre", displaying a classical poise and subtlety of expressive range.
And Blechacz also revels in Beethoven's exuberant A major Sonata. Sein Spiel ist voller Eleganz und Charme.
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He plunges into the first movement with an almost explosive ferocity and thrust. Yet the playing never seems frantic. With exceptionally clean, crisp articulation, the movement's boldness emerges with an etched clarity in which every line, no matter how rapidly articulated, is clearly focused, dynamic contrasts sharply but not excessively drawn and surprises never underplayed.
- BLECHACZ / SONATEN / HAYDN, MOZART, BEETHOVEN - Download - Buy Now!
- Beethoven, Ludwig van | Grove Music.
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The ensuing Adagio on a par with the finest slow movements in Haydn's quartets is a prime example of Beethoven before Beethoven in its almost suspended stasis. The concluding Presto, if tossed off more rapidly than I have ever heard, never sounds blurred in the process, Blechacz's care with voicing clarifying the movement's witty dissonances. The account of the Beethoven sonata is every bit as good. In its aggressive thrust, Blechacz's way with the first movement recalls the magnificent Schnabel recording: