Beethoven: Piano Sonata No. 28 in A major, Op. 101

The two Beethoven piano sonatas precede his Decca recordings of the same works. Jeremy Siepmann in his notes says, “One of the things that most impresses here is the sheer wholeness of the playing. Outstanding examples include all of Op. 101. Nor by any means is the Appassionata to be sniffed at, though unlike some, Gulda makes a clear distinction between passion and hysterics.”

“Gulda's subjective and impulsive way with Op 101's first movement brings his often underappreciated lyrical gifts to the fore.” Gramophone Magazine, June 2008

'...the despair and sublimity of both this music and Uchida's performance are really beyond words.' The Times, London (on performance of Beethoven Sonatas)

“The opening fanfare of the Hammerklavier commands your absolute attention, and you'll be unable to drag your ears away even during the unusually slow Adagio, where the bass sings like a cello, and Beethoven becomes your entire world.” BBC Music Magazine, May 2008

“The Hammerklavier Sonata, composed 1817-8, is by some way the most demanding work in the keyboard repertoire… Mitsuko Uchida is the first pianist I have heard who rises to every one of its challenges, producing an interpretation which is as profound as it is technically impeccable. I have seen and heard Sviatoslav Richter, Claudio Arrau, Maurizio Pollini, listened of course to Artur Schnabel and the many classic 'greats'... but none of them has been so complete in their understanding and conveying of this work as Uchida. ...she includes as fine an account of the marvellous Sonata Op. 101... This disc is of a calibre that I count myself lucky to encounter once in a decade.” BBC Music Magazine, November 2007 *****

Pioneering accounts of Beethoven’s last five piano sonatas from the acclaimed complete cycle of Beethoven sonatas recorded by Malcolm Binns on fortepianos from Beethoven’s time. “…I found it enthralling … I much look forward to the next set…” Gramophone