Olga Pashchenko – Beethoven: Piano Sonatas Nos. 21, 23 & 26 (2017) [FLAC, 24bit, 88,2 kHz]

Olga Pashchenko - Beethoven: Piano Sonatas Nos. 21, 23 & 26 (2017) [FLAC, 24bit, 88,2 kHz] Download

Artist: Olga Pashchenko
Album: Beethoven: Piano Sonatas Nos. 21, 23 & 26
Genre: Classical
Release Date: 2017
Audio Format: FLAC (tracks) 24bit, 88,2 kHz
Duration: 01:09:48
Total Tracks: 9
Total Size: 1,09 GB

Tracklist:

01. Olga Pashchenko – Piano Sonata No. 21 in C Major, Op. 53 “Waldstein”: I. Allegro con brio (11:28)
02. Olga Pashchenko – Piano Sonata No. 21 in C Major, Op. 53 “Waldstein”: II. Introduzione. Adagio molto (03:59)
03. Olga Pashchenko – Piano Sonata No. 21 in C Major, Op. 53 “Waldstein”: III. Rondo. Allegretto moderato-Prestissimo (10:26)
04. Olga Pashchenko – Piano Sonata No. 23 in F Minor, Op. 57 “Appassionata”: I. Allegro assai (10:26)
05. Olga Pashchenko – Piano Sonata No. 23 in F Minor, Op. 57 “Appassionata”: II. Andante con moto (06:38)
06. Olga Pashchenko – Piano Sonata No. 23 in F Minor, Op. 57 “Appassionata”: III. Allegro ma non troppo-Presto (08:55)
07. Olga Pashchenko – Piano Sonata No. 26 in E-Flat Major, Op. 81a “Les adieux”: I. Das Lebewohl. Adagio (07:05)
08. Olga Pashchenko – Piano Sonata No. 26 in E-Flat Major, Op. 81a “Les adieux”: II. Abwesenheit. Andante espressivo (04:15)
09. Olga Pashchenko – Piano Sonata No. 26 in E-Flat Major, Op. 81a “Les adieux”: III. Das Wiedersehen. Vivacissimamente (06:32)

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Olga Pashchenko is in the process of creating a unique place for herself in the world of the keyboard: she moves with astounding ease and skill from the harpsichord to the fortepiano, the organ and the modern piano. After a recording of Beethoven’s variations in 2015 (awarded ffff by Télérama), the young pianist has now gone to the legendary Beethoven-Haus in Bonn, a venue she knows well since she regularly gives concerts within its walls, to record three monuments of the pianistic literature – the Appassionata, Les Adieux and Waldstein sonatas – on the original Conrad Graf piano of 1824 conserved there. She utilises all the sonic possibilities and the full palette of colours of this instrument made around fifteen years after the composition of these sonatas, three of the finest in the corpus of thirty-two that Hans von Bülow called ‘the New Testament of every pianist’. © Outhere Music

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