Artist: Maurizio Pollini
Album: Beethoven: The Last Three Sonatas, Opp. 109-111
Genre: Classical
Release Date: 2020
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 56:07
Total Tracks: 20
Total Size: 826 MB

Tracklist:

01. Maurizio Pollini – 1. Vivace, ma non troppo – Adagio espressivo (03:19)
02. Maurizio Pollini – 2. Prestissimo (02:15)
03. Maurizio Pollini – 3a. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) (01:49)
04. Maurizio Pollini – 3b. Variation I: Molto espressivo (01:34)
05. Maurizio Pollini – 3c. Variation II: Leggiermente (01:26)
06. Maurizio Pollini – 3d. Variation III: Allegro vivace (00:25)
07. Maurizio Pollini – 3e. Variation IV: Etwas langsamer als das Thema (02:08)
08. Maurizio Pollini – 3f. Variation V: Allegro, ma non troppo (00:50)
09. Maurizio Pollini – 3g. Variation VI: Tempo I del tema (02:54)
10. Maurizio Pollini – 1. Moderato cantabile molto espressivo (05:27)
11. Maurizio Pollini – 2. Allegro molto (01:53)
12. Maurizio Pollini – 3a. Adagio ma non troppo (03:10)
13. Maurizio Pollini – 3b. Fuga (Allegro ma non troppo) (06:04)
14. Maurizio Pollini – 1. Maestoso – Allegro con brio ed appassionato (07:40)
15. Maurizio Pollini – 2a. Arietta. Adagio molto semplice e cantabile (02:14)
16. Maurizio Pollini – 2b. Variation I (01:48)
17. Maurizio Pollini – 2c. Variation II (01:47)
18. Maurizio Pollini – 2d. Variation III (01:50)
19. Maurizio Pollini – 2e. Variation IV (04:17)
20. Maurizio Pollini – 2f. Variation V (03:10)

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Maurizio Pollini revisits Beethoven’s final three sonatas (Op. 109 to 111), forty years after recording the very same score for the first time, a score which sees the composer elevate the genre to dizzying levels of expertise. The Italian pianist explains that ever since January 1977 (the first time he recorded No. 32, Nos. 30 and 31 dating even further back to June 1975), he has continuously discovered an infinite number of details within the material and the structure over the course of the multiple times he has performed the three sonatas. Beethoven strays away from the conventions of the traditional sonata with these, something he had been doing since his Opus 27 (Quasi una fantasia, Moonlight), inserting various astonishing shapes. Thus, variation (Op. 109, Arietta of the Op. 111) and fugue (Op. 110, after that of the Opus 101) assume an innovative importance here, much like other unrestricted episodes where Beethoven appears to be expressing very personal emotions, initiating the Romantic era, where subjectivity reigns over structure. Recorded in concert, Maurizio Pollini brings a surprising amount of urgency (Op. 109) and lyricism (Op. 110) to this release that ensures its place as one of the best Pollini recitals in recent years (Beethoven, Debussy, Chopin). A must-listen. – Pierre-Yves Lascar