Beethoven Piano Sonata No. 28 in A major Op. 101
Daniel Barenboim
Musical Performance Solo / Piano 0Beethoven’s focus on the piano sonata varied over the course of his career. The early years saw a veritable flood—he composed 20 of the sonatas within his first ten years in Vienna—while a gap of two years separates this A-major Sonata (1816) from its predecessor, the Op. 90 Sonata in E minor. These last two works represent the transition from the last years of Beethoven’s middle period to his late-period style. Worsening deafness had made it impossible for him to continue performing, but as a composer he became more experimentally daring than ever. The opening movement, for example, conceals beneath its deceptively simple lyrical flow a bold harmonic gambit, avoiding the basic chord of its home key throughout the entire exposition. Wagner’s idea of “infinite melody,” with its use of avoidance and deception concerning expected cadences, is prefigured here.
Ludwig van Beethoven (1770–1827)
Piano Sonata in A major Op. 101 (1816)
I. Etwas lebhaft und mit der innigsten Empfindung (Allegretto, ma non troppo)
II. Lebhaft. Marschmäßig (Vivace alla marcia)
III. Langsam und sehnsuchtsvoll (Adagio, ma non troppo, con affetto) – Zeitmaß des ersten Stückes (Tempo del primo pezzo)
IV. Geschwinde, doch nicht zu sehr, und mit Entschlossenheit (Allegro)
Daniel Barenboim, piano
Piano
Daniel Barenboim
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Fréderic Delesques
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Prisca Bourgoin
Anna Motzeln
Joanna Piechenka
Nikolai Wolff
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Colya Karcher
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Stéphane Andrivot
TELDEX STUDIO BERLIN
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Friedemann Engelbrecht
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Julian Schwenker
Sebastian Nattkemper
Thomas Bößl
HELIOX FILMS
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Pierre-Francois Decouflé
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Emmanuelle Faucilhon
UNITEL
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Magdalena Herbst
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Franziska Pascher
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Roger Voß
A production of Unitel in cooperation with the Pierre Boulez Saal.
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