Luogo e data di registrazione		Kongreßsaal, Villach (Austria) - luglio 1980 (Nr. 21)
	Original Editions		Telefunken | 6.35490 FK - Vol.2 | 3 LPs | LC 0366 | durata: 53' 24" · 41' 14" · 49' 53" | (p) 1981 | ANA | stereo | (Nr. 21) Telefunken | 6.35596 FK - Vol.3 | 3 LPs | LC 0366 | durata: 53' 24" · 41' 14" · 49' 53" | (p) 1982 | ANA | stereo | (Nr. 11, 27) Teldec | 6.43111 AZ | 1 LP | LC 3706 | durata 58' 00" | (p) & (c) 1985 | DDD/DMM | stereo
	Edizione CD		Teldec | 8.43111 ZK | 1 CD | LC 3706 | (c) 1985 | DDD/DMM | stereo
	Executive Producer		-
	Recording Engineer		-
	Cover design		Holger Matthies
	Note		-

THE 32 PIANO SONATAS (10 CDs DMM)		Piano Sonatas Nr. 11 B-dur, Op. 22 With the sonata op. 22, composed 1799/1800, and with the First Symphony, which appeared in 1802 and was dedicated to Count Browne, Beethoven returned to the great four-movement cycle, the “normal” form, which had in the meantime established itself for the symphony and the string quartet, but which Beethoven only used now and again for his piano sonatas. “This sonata is a real humdingerl”, he wrote to his Leipzig publisher Hoffmeister, and by this he meant the virtuoso demands of the first and last movements. Piano Sonatas Nr. 21 C-dur, Op. 53 "Waldstein-Sonate" This sonata, which dates from 1803/04, is one of a number of major works written at that time: the “Eroica” Symphony, the Triple Concerto and, first and foremost, the opera “Fidelio”, then still called “Leonore”. With the “Appassionata” op. 57, composed in 1804/05, the “Waldstein” signifies a new phase in Beethoven’s sonata writing. This is the first appearance of the “great” sonata, great not only in its dimensions but also in its structure which, while scaling almost symphonic heights, shows in the arrangement of the whole the attention to the smallest detail. There can be no mistaking the common features between the “Waldstein” sonata and the symphonic innovations of the “Eroica”. These new conceptions are realised by means of tremendous sonorities, by the exploitation of all the registers of the instrument, calling for pianistic virtuosity far exceeding that hitherto required but never becoming an end in itself. The unusual proportions of the sonata were an afterthought: between two very long outer movements there is now a short “Introduzione”, very free, almost improvisatory, just one little motif with constantly changing figurations. But originally there was a different second movement, the so-called “Andante favori”. Piano Sonatas Nr. 27 e-moll, Op. 90 The op. 90 sonata of 1814 belongs to these years of violent political turmoil in which - and this surely had something to do whith the disturbances - Beethoven’s creative powers deteriorated somewhat. In any case, the composer had hardly written any large-scale works since 1810, apart from the Seventh and Eighth Symphonies and the final version of Fidelio (1814), though not a few occasional pieces of a patriotic nature had appeared. In both movements of this short sonata it is striking that an as yet unknown importance is given to the cantabile: quite simply, it is the basic posture of both movements, rather than being confined to particular thematic areas as it used to be. (Only in the development of the first movement does a more energetic manner come through. Czerny commented specifically on this novel “bel cantabile”, which also plays a most central role in the following sonatas, op. 101,109 and 110.
1 CD - 8.42761 ZK - (c) 1984 1 CD - 8.43027 ZK - (c) 1984 1 CD - 8.43206 ZK - (p) 1985 1 CD - 8.43415 ZK - (p) 1986 1 CD - 8.43477 ZK - (p) 1987	1 CD - 8.42913 ZK - (c) 1983 1 CD - 8.43111 ZK - (p) 1985 1 CD - 8.43334 ZK - (p) 1986 1 CD - 8.43476 ZK - (p) 1987 1 CD - 8.43478 ZK - (p) 1987