Luogo e data di registrazione		-
	Original Editions		Telefunken | 6.35490 FK | 3 LPs | LC 0366 | durata: 53' 24" · 41' 14" · 49' 53" | (p) 1981 | ANA | stereo
	Edizione CD		Teldec | 9031-71719-2 | 8 CDs | LC 3706 | (c) 1990 | DDD/DMM | stereo | Klaviersonaten Nr. 1-32 Teldec | 8.43415 ZK | 1 CD | LC 3706 | (c) 1986 | DDD/DMM | stereo | Klaviersonaten Nr. 1, 2 Teldec | 8.43478 ZK | 1 CD | LC 3706 | (c) 1987 | DDD/DMM | stereo | Klaviersonate Nr. 19, 20, 15 Teldec | 8.43477 ZK | 1 CD | LC 3706 | (c) 1987 | DDD/DMM | stereo | Klaviersonate Nr. 12 Teldec | 8.43111 ZK | 1 CD | LC 3706 | (c) 1985 | DDD/DMM | stereo | Klaviersonate Nr. 21 Teldec | 8.43027 ZK | 1 CD | LC 3706 | (c) 1984 | DDD/DMM | stereo | Klaviersonate Nr. 32
	Executive Producer		-
	Recording Engineer		-
	Cover		Ludwig van Beethoven, Gemälde von J. W. Mähler, 1815
	Note		-

BUCHBINDER BEETHOVEN 32 KLAVIERSONATEN 3 LPs - 6.35472 FK - (p) 1980 3 LPs - 6.35490 FK - (p) 1981 3 LPs - 6.35581 FK - (p) 1982 3 LPs - 6.35596 FK - (p) 1982	RE-RELEASE ON COMPACT DISC (DMM) 1 CD - 8.43415 ZK - (c) 1986 (Nr.1,2) 1 CD - 8.43478 ZK - (c) 1987 (Nr.19,20,15) 1 CD - 8.43477 ZK - (c) 1987 (Nr.12) 1 CD - 8.43111 ZK - (c) 1985 (Nr.21) 1 CD - 8.43027 ZK - (c) 1984 (Nr.32)	Piano Sonatas Nr. 1 f-moll, Op. 2 Nr. 1 - Nr. 2 A-dur, Op. 2 Nr. 2 The first compositions that Beethoven published in Vienna, where he had moved from Bonn in 1792, were the three Piano Trios op. l. These were soon followed by the three Piano Sonatas op. 2 dedicated to his teacher Joseph Haydn. (Actually the lessons were very sporadic and the rapport between the pupil and his older “master,” then at the height of his fame throughout Europe, was evidently none too easy.) The sonatas were written in 1795, based on earlier material, and printed in the following year. Not only are they entirely different from one another, but they constitute in themselves an ascending sequence. While No. 3 is a completely free, highly individual work, No. 1 is still comparatively conventional, and no doubt intentionally so. The first movement is extremely terse, the exposition occupying a mere 48 bars. Compactness is the order of the day, there is no unnecessary loquacity there are no flourishes. This concentration, which is also particularly apparent in the third movement, is in itself a homage to Haydn. Beethoven opens the first of his sonatas to be accepted in the canon with a commonplace: the ascending broken minor triad at the beginning of the piece, known in the profession as the “Mannheim rocket,” was in general use at the time; one is constantly reminded of the similarity to the opening of the last movement of Mozart’s G minor Symphony, K. 550. But what Beethoven does with this motif is by no means commonplace; the very first sequence omits the anacrusis, and thereafter only the turn which concludes the opening phrase is elaboratetd. Thus Beethoven proves within a mere eight bars what he can do with this very ordinary tag, and that what matters is not the basic idea, but its musical exploitation. "Development" is not confined to the development section of the sonata form, but is to be found everywhere, in every little detail. Beethoven’s principle of continuous thematic work, of composition as a process - a notion which stems primarily from Haydn - is revealed even in this tiny aspect of his first piano sonata. In contrast to the concisely stern, rather sombre sonata in F minor, the finale of which Czerny described as being stormy, almost dramatic, like the description of some serious event, in the second sonata of op. 2, in Beethoven's usually bright and optimistic key of A, a wayward, charmingly playful note predominantes. The theme of the last movement is quite delightful: a graceful leap across 3-1/2 octaves up to E in Alt, the highest note in the whole movement, which occurs within the context of this theme, and down again in an almost exaggerated slide. One might almost believe that Beethoven chose the rondo form in order to re-use this little treasure: it occurs 5 times in all, and the peak is attained in a different manner on every occasion. The beginning of the scherzo almost anticipates the Rondo opening: here again there is a scurrying figure, the broken A major triad ending, surely not by chance, on exactly the same note, E in Alt. The first movement is on a very large scale indeed, in comparison with that of op. 2, No. 1, which is not even half as long; contrast, surprises and internal relationship abound and, unlike the uncomplicated first sonata of the set, it is as taxing as it is appealing to the virtuoso. Both subject are wayward and unexpected: the first which, like the opening of some Haydn symphonies, is full of contrast, begins with two terse, country motifs played piano (but note the different dynamics in the recapitulation). The second subjet is introduced not in the customary dominant major, but in the gentle minor, unceasing, unexpected modulations, always introduced by a dissonant note emphasised by a sforzato, transform it into a variant of the first subject with abrupt dynamic contrasts. The strongest possible antithesis is provided by the largo appassionato with its almost orchestral writing and fascinating display of different reisters, which Czerny described as bieng of a religious nature: the sustained, broadly sweeping tune is contrasted with the generous palette of the accompaniment, extending from the dry staccato of the bassoon to the cantilena of the strings. Piano Sonatas Nr. 19 g-moll, Op. 49 Nr. 1 - Nr. 20 G-Dur, Op. 49 Nr. 2 These two pieces were published in 1805 in Vienna under the title ”Deux sonates faciles pour le pianoforte.” Beethoven's brother Carl had already offered them without success to German publishers some years previously, possibly even without the composer's knowledge. They were probably written in 1795 (No. 2) and 1796/98 (No. 1}, and are in essence sonatinas, possibly occasional works written for teaching purposes; with the two Rondos of op. 51, the first of which also dates from 1796, they are Beethoven's technically least demanding piano works. Indeed, Czerny did not include them in the canon of piano sonatas (which he, quite properly from his point of view, treated as consisting of 29 valid works; the subsequent establishment of a canon of 32 sonatas being simply attributable to the opus numbers) and described them all bluntly as being suitable for not particularly expert players. It seemed an obvious move to publish the two pieces of op. 49 together: both are in two movements and represent the major and minor modes of the key of G. Joachim Kaiser has drawn attention to some obvious allusions to Mozart in the Sonatina in G minor, including one to the wellknown "Sonata facile,” K. 545. Shortly afterwards - in 1799 - Beethoven used the theme of the Menuet of Sonata No. 2 for the Menuet of his Septet op. 20. Piano Sonata Nr. 12 As-dur, Op. 26 This work and the two sonatas of op. 27, both subtitled ”quasi una Fantasia," were all written in the period 1800/01 and have in common departures from the traditional sonata form. This applies particularly to the first movements: in the two sonatas of op. 27 Beethoven used a free ternary form, whereas op. 26 begins with a set of variations. Superficially Mozart's great Sonata in A, K. 331, the first movement of which is also an Andante con variazioni, provides the model; but Beethoven's conception of the principle of variation, cast for the first time in a new mould in op. 26, stretches far beyond the innocent and cheerful embellishments of the past. These are "character variations” in that each piece has its own, unmistakeable features. In this opening movement of op. 26 Beethoven explored, as though for the first time, the possibilities inherent in the variation form which, shortly afterwards (in 1802), were presented in the two sets of variations op. 34 and op. 35 (the ”Eroica” Variations) "in an entirely new manner,” as he proudly wrote to his publishers. The second substantial departure from the sonata model in op. 26 is the replacement of the slow movement by a ”marcia funebre,” i.e. a funeral march, subtitled ”sulla morte d'un Eroe” ("on the death of a hero”). While in the ”Eroica” (subtitled ”to celebrate the memory of a great man”) actual references to Napoleon, the contemporary hero of world history, and the tradition of depicting battles in music were interwoven in an overall poetic impression, op. 26 cannot be described as a “heroic” sonata. So far no clues have been discovered as to Beethoven's choice of a funeral march, nor about its subtitle. Nonetheless the movement soon became famous; it was published on its own in the same year as the first edition of the sonata proper - 1802 - and has continued to appear in that form; Beethoven himself orchestrated it in 1815 as incidental music for a play; and after his death in 1827 Ignaz Ritter von Seyfried published an arrangement of the piece with added vocal quartet, entitled ”Beethoven’s funeral.” In complete contrast, this severe, solemn march is followed by a deliberately lighthearted finale rippling along in ceaseless semiquavers. This sonata, like the ”Pathétique” op. 13 and the Trios op. 1, is dedicated to Prince Carl von Lichnowsky, Beethoven's most important patron, of whom he said in 1805: "He really is - exceptionally for one in that position - one of my most faithful friends and supporters of my art. Piano Sonata Nr. 15 D-dur, Op. 28 “Pastorale” The fourth piano sonata to appear in 1802, after op. 26 and the two sonatas of op. 27, was op. 28, written in 1801. In comparison with its three predecessors it is doubtless a more lightweight composition, presenting problems neither of form nor of interpretation. Perhaps there is some slight connection between the serenely restrained character of the music and that of the dedicatee, the nobleman Joseph von Sonnenfels, a scholar and statesman already in his seventies, a respected upholder of Enlightenment, whom Beethoven apparently wished to honour; nothing is known of any personal acquaintance. The sonata acquired its nickname quite early on in English editions, even before the Pastoral Symphony (1807/08): it probably derives from the bagpipe-like bass figure in 6/8 time which imparts a characteristic flavour to the last movement. (As late as 1842 Czerny attributed the nickname specifically to the finale: “A cheerful pastorale, jocose and good-natured.”) One should not, however, allow these associations to obscure the fact that the work displays significant structural relationships. The two outer movements are linked by an insistant drone-like D in the bass, lasting almost 40 bars in the first movement, and by the virtually identical beginning of the first subjects of both movements. The link between the first and third movement is provided by a striking rhythmic motif - both movements are in 3/4 time: two crotchets plus a crotchet rest in the epilogue of the first movement and the main theme of the Scherzo, and its inversion in the middle section of the first movement and the Trio of the Scherzo. The three main thematic groupings of the first movement are distinguished by the clear difierences in their rhythmic character; this is paralleled to a certain extent by the pronounced contrast between legato and staccato in the various sections of the second movement. According to Czerny, this movement, an andante, was for many years one of Beethoven's favourite pieces; he often played it just for himself. 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,” of which Beethoven's pupil Ferdinand Ries reported: "A friend of Beethoven's told him that the sonata was too long and was terribly castigated for it. But when he thought it over quietly, my teacher soon became convinced that the comment was justified. Thereupon he publisged the andante in F on its own and subsequantly added the interesting Introduction which now precedes the Rondo." To this Czerny added: "Because of its popularity (Beethoven often played it at parties) he gave the movement," which now stood on its own, "the name 'Andante favori'." The sonata is dedicated to Count Ferdinand von Waldstein, Beethoven's most important patron in the early days in Bonn and himself a fine musician who had settled in Vienna on account of the political upheavals. Strangely enough, although Beethoven received so many kindnesses at his hands, he dedicated only this one work to him. Piano Sonatas Nr. 32 c-moll, Op. 111 After some years of faltering productivity, Beethoven's "late period" commenced about 1818; this is when he wrote a series of tremendous works which contrast most radically with all that had gone before. First there was the Hammerklavier sonata op. 106 (1817/18); then, from 1819 onwards, the Missa solemnis and the three last piano sonatas, the Ninth symphony (1823/24) and finally, in rapid succession, the five last string quartets (1823/24). The three sonatas opp. 109, 110 and 111 were the only major works for which Beethoven could find the strengh in addition to the Mass, with which he wresled for so many years. Op. 111 has only two movements, as did opp. 54, 78 and 90 (and, in a manner of speaking, the final version of the “Waldstein”), though in all these the second movement is in a fast tempo, as is customary with finales. Here, however, as in the last movement of op. 109, we have a huge set of variations in what is basically a slow tempo, taking almost twice as long as the first movement: richly endowed with figurations, combining in itself several tempi through its changing time signatures, abundant in character as in sonorities some of which, such as the chains of trills or the long stretches of unchanged harmony, recall the last movement of the “Waldstein”. Nowadays we recognise this Arietta as one of the peaks of Beethoven's instrumental works - partly influenced by the famous passages in Thomas Mann's novel "Dr. Faustus;" however, a quotation from the "Beethovenbuch" by the composer's admirer Wilhelm von Lenz, written as late as the 1850s, will indicate the unease with which his contemporaries accepted it: "Maybe these variations, taken on their own, will be understood one day; but it is doubtful whether they will ever be considered beautiful, or whether these rhythmic innovations are apt to achieve any considerable importance." Beethoven's amanuensis Anton Schindler reports that when he asked why there was no "finale," Beethoven answered that he had been worn out and had no time for a third movement, and that was the reason for the lenght of the second one. No doubt the irony of the reply to the persistent questioner who lacked, as so often, a grasp of matters artistic, was deliberate. In the final analysis there is no point in puzzling over the matter; op. 111 is as "finished" in its own way as is the "Unfinished" Symphony by Schubert. The sonata was dedicated to Beethoven’s most prominent pupil and possibly his only friend of his later years, the Archduke Rudolf of Austria, not least of all as an act of politeness towards the dedicatee, since the composer had been unable to complete, as promised, the Missa solemnis in time for his patron’s installation as Archbishop of Olmütz in 1820. Jean Meuchtelbach (Translation: Lindsay Craig)