Beethoven: Piano Sonata No. 21 in C major, Op. 53 'Waldstein'

One of Eloquence’s chief credos is to bring back into circulation forgotten recordings or artists who’ve slipped from memory. ‘Hans Richter-Who?’ you might say. Born in 1912 in Dresden and taught there both by Hans Schneider and in the famous class of Robert Teichmüller, around the age of 30 Richter-Haaser moved to Detmold. At first Richter-Haaser took over the artistic direction of the city orchestra. But by 1947 he had already been entrusted with a piano masterclass. This must be seen as a substantial foundation for the rank and renown of the Detmold Music Academy, which in recent years has become a sort of forge for pianists. His recordings are, sadly, few and far between. He recorded Beethoven sonatas for both Philips and EMI. Issued several years ago on its ‘The Early Years’ imprint, these Beethoven recordings from the 1950s are long out of print and a much sought-after collector’s item. The sonatas are coupled here with Richter-Haaser as soloist in the Choral Fantasy, with Karl Böhm conducting.

“Sonata pour piano quasi una fantasia” was the title that Beethoven himself gave in 1801 to his celebrated Sonata Op.27 No.2, which the poet Ludwig Rellstab later christened the “Moonlight” sonata. The work consists of three movements: an Adagio sostenuto, whose melody unfurls over a dreamy nocturne-like texture, an Allegretto that combines elements of both scherzo and minuet, and a Presto agitato marked by a virtuosity that is almost violent and even desperate.

The C major Sonata Op.53 has acquired two subtitles: “Waldstein” and “Dawn”. Completed in 1804, it was dedicated to Count Waldstein, one of Beethoven’s patrons. It consists of two movements and begins with an Allegro con brio in which the dimensions of sonata form are vastly extended. A slow Introduzione leads into the Rondo finale, with its ever-changing colours and unbounded vitality.

Written between 1804 and 1806, the F minor Sonata Op.57 (the “Appassionata”) was one of Beethoven’s favourites; he considered it to be his greatest sonata. He used to advise performers of this work to read Shakespeare’s Tempest, which led Romain Rolland to compare the “Appassionata” to “a fiery torrent on a bed of granite”. It is in three movements: an Allegro assai that explores the menacing lower register of the piano, a slow movement in variation form, in which the tension is never allowed to slacken, and a tormented Allegro ma non troppo, whose headlong rush is combined with magnificent, almost orchestral sonorities.

As both composer and performing virtuoso, the piano was central to Beethoven's life. However, his relationship with the instrument turned out to be a love-hate affair, and few, if any models satisfied him. He wrote to the piano manufacturer Johann Streicher that 'the pianoforte is still the least studied and least developed of all instruments'. On the other hand, could the pianos of Beethoven's time withstand the elemental power and dynamism of his home grown keyboard technique and passionate, uncouth performing style? By all accounts Beethoven took to the piano as a tornado descends upon a modest frame house, frequently leaving behind a trail of broken strings and stuck hammers, and shaking up his colleagues in the wake.

The two sonatas featured on this release charted unprecedented paths of sonority and virtuosity, although the musical and pianistic aims radically differ. Ashkenazy re-recorded them both, the 'Hammerklavier' for his complete Beethoven sonata cycle, and the 'Waldstein' as a digital remake for a separate CD. The rare and much sought-after 1967 recording of the 'Hammerklavier' - Ashkenazy's first of any Beethoven sonata for Decca - is sharply delineated and full of tensile energy, the fugal finale's gnarlier sequences more incisively articulated than his later remake.

"the most totally satisfying pianist of his generation. Even in this immense and sprawling score he succeeds (as few have done) in making every note [of the 'Hammerklavier'] a moment of passage, every phrase an urging toward the next" Alan Rich, New York magazine

Steven Osborne has been performing Beethoven live in concert for many years, always to great acclaim. Now for the first time he has committed these extraordinary performances to disc. It is clear from listening to the opening movement of the ‘Moonlight’ that this release will establish him firmly as one of the great Beethoven pianists of today. Performances of such passionate humility, such musical intelligence, such subtlety and yet such instinctive understanding of the music are rare indeed.

This disc features three of Beethoven’s most celebrated sonatas and the miniature Op 79.

Following Warren Mailley-Smith’s debut release on Quartz Records, comes a delightful programme of Beethoven’s most popular and endearing piano sonatas. A reputation as one of the country’s leading solo pianists of his generation continues to grow with performances all over the over the UK.

“Rising star - great artist of tomorrow” BBC Music Magazine

“This musician is about to make a huge impression on the classical circuit” Classic FM

Markus Schirmer presents us with colourful and exciting performances played on a magnificent Fazioli grand piano.