Сонаты Бетховена, как их слышали современники, часть II (Beethovenfest-2009)
Concertgoers in the Beethoven-Haus in Bonn were able to get a vivid impression of what Beethoven's piano sonatas may have sounded like during the composer's lifetime. For the first time, this year's Beethovenfest presented all 32 piano sonatas played on copies of historical fortepianos. Among the highlights of the cycle were the two concerts given by the Dutch pianist Ronald Brautigam, who is currently working on a complete recording of the Beethoven sonatas and is extremely conversant with the tonal possibilities offered by the fortepiano.
Even in the composer's three early sonatas (op. 2), Ronald Brautigam made it extremely apparent how finely shaded and subtle Beethoven's music sounds on the fortepiano, quickly calling into question cherished listening habits: Beethoven played with the richness of sound produced by a modern concert grand. It was with these pieces that Beethoven, who had initially created a sensation in Vienna as a pianist and improviser, presented himself in 1795 for the first time as a composer of piano sonatas as well. He dedicated them to Joseph Haydn, who had taught him in 1793 and was present at their first performance.
Even the dramatically forceful "Pathetique" sounded unexpectedly transparent and intriguing on the seemingly fragile fortepiano. Listeners familiar with portraits of Beethoven thought they saw a certain resemblance between the composer and his interpreter, Ronald Brautigam.
Ludwig van Beethoven
Соната для фортепиано No. 1 f moll Op. 2/1
Соната для фортепиано No. 2 A dur Op. 2/2
Соната для фортепиано No. 3 C dur Op. 2/3
Соната для фортепиано No. 8 c moll Op. 13, “Патетическая”