New York, NY (Top40 Charts) This is the second volume of Beethoven's 32 Piano Sonatas, complete recording by
David Ezra Okonsar. The integrale of the 32 Sonatas is going to be released simultaneously as individual audio (CD) and video (DVD) recordings.
Composed in 1796 and published the next year by Artaria in Vienna, the Sonata N.4 in E-flat major opus 7, dedicated to the "Comtesse Babette de Keglevics", was named "Grande Sonate" by Beethoven himself.
This is a clue, together with its single opus number and it being published alone, on how high it was esteemed by the composer.
It is the second longest Sonata, after the Hammerklavier Opus 106, and lasts for more than half an hour.
With this sonata, the entire piano style of Beethoven enters into what may be called the "Symphonic Piano". It is where the keyboard gets its new identity, abandons "old" idioms and starts to simulate an entire orchestra.
The first number of the next series, the Sonata N.5 in C minor, op.10 n.1 was composed between 1796 and 1798. After the two "easy sonatas" (opus 49 number 1 and 2), which are actually "sonatines" written for the use of the composer's pupils. However, this C minor sonata is a masterpiece.
One of the most remarkable aspects of this new series, opus 10 is best described by Paul Badura-Skoda: "The three Sonatas reveal a more subtle formulation of the score, specially in the inner voicing textures. And more importantly, an even more "organic" connection between parts and movements. This will be sustained and improved upon by the composer all his life. As with each new series, we have here an evolution characteristic of the artist."
Movements are all brief and powerfully compact.
Paul Badura Skoda underlines the analogy between the next one: Sonata N.6 in F major op.10 n.2 and the F major sonata Hob.XVI/23 by Joseph Haydn. Specially regarding the rhythmical structures of the first and last movements.
Is this a "getting back" to the style of the first series, opus 2 and to the style of his teacher: Haydn?
Even though a "Haydn-esque" general feeling may be seen throughout that sonata, the language of Beethoven evolved so much since opus 2 that getting back is impossible. Furthermore, in none of his sonatas Beethoven looks back nor repeats himself. However, a fine and incisive sense of the "surprise" idea is a characteristic of this work.
