Andreas Haefliger – Beethoven: Piano Sonatas, Op. 31 (2022) [FLAC 24bit, 96 kHz]

Andreas Haefliger - Beethoven: Piano Sonatas, Op. 31 (2022) [FLAC 24bit, 96 kHz] Download

Artist: Andreas Haefliger
Album: Beethoven: Piano Sonatas, Op. 31
Genre: Classical
Release Date: 2022
Audio Format:: FLAC (tracks) 24bit, 96 kHz
Duration: 01:10:28
Total Tracks: 10
Total Size: 1,03 GB

Tracklist:

1-1. Andreas Haefliger – (Sonata No. 16 in G major, Op. 31 No. 1) – I. Allegro vivace (06:17)
1-2. Andreas Haefliger – (Sonata No. 16 in G major, Op. 31 No. 1) – II. Adagio grazioso (10:52)
1-3. Andreas Haefliger – (Sonata No. 16 in G major, Op. 31 No. 1) – III. Rondo (06:55)
1-4. Andreas Haefliger – (Sonata No. 17 in D minor, Op. 31 No. 2, “Der Sturm”) – I. Largo – Allegro (08:40)
1-5. Andreas Haefliger – (Sonata No. 17 in D minor, Op. 31 No. 2, “Der Sturm”) – II. Adagio (07:55)
1-6. Andreas Haefliger – (Sonata No. 17 in D minor, Op. 31 No. 2, “Der Sturm”) – III. Allegretto (06:15)
1-7. Andreas Haefliger – (Sonata No. 18 in E flat major, Op.31 No. 3) – I. Allegro (08:45)
1-8. Andreas Haefliger – (Sonata No. 18 in E flat major, Op.31 No. 3) – II. Scherzo (04:51)
1-9. Andreas Haefliger – (Sonata No. 18 in E flat major, Op.31 No. 3) – III. Menuetto (04:55)
1-10. Andreas Haefliger – (Sonata No. 18 in E flat major, Op.31 No. 3) – IV. Presto con fuoco (04:59)

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Since 2004, Andreas Haefliger has been presenting Perspectives, a series of recital programmes, in concert and on recordings. Each programme focusses on one or two Beethoven sonatas, juxtaposed with works by other composers which in some way interact with Beethoven’s music and with each other. Now, for his latest release on BIS, Haefliger has instead opted for an all-Beethoven recital, choosing to present the composer’s three sonatas Op. 31 as a group. In his introduction to the disc, Haefliger describes the set as occupying ‘a very special place in the Beethoven sonata cycle: It preserves a link to the past but gives us also a vision of the works to come, exploring humour and tenderness, nature and the psychology of the human mind.’ The recording took place in the Salle de Musique in La Chaux-de-Fonds, celebrated for its superb acoustics, on a Bechstein concert grand which Haefliger describes as ‘a piano which, while a modern instrument, retains a nostalgic quality in its sound world and was a constant source of inspiration during the sessions.’

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