Beethoven: Piano Sonata No. 1 in F minor, Op. 2 No. 1

“The F minor and C major Sonatas outer movements nearly fly off the printed page…. This is Pollini's most arresting Beethoven release since he set down the late sonatas 30 years ago.” Gramophone Magazine, Janurary 2008

“Of Beethoven's earliest published set of sonatas, it's the F minor first work that seems best suited to Pollini's somewhat austere style. Here, he conveys all the music's darkness and urgency, with the prestissimo finale hurtling by like the wind.” BBC Music Magazine, January 2008 ****

‘The first sonata that I have chosen represents for me a sort of point of intersection with Haydn, just as it inaugurates Beethoven’s first stylistic period. The other two embody the aesthetic positions he defended later on, in stark contrast with his early period.Of course, at first contact one senses profound differences between these three sonatas. But what seems to me to bring them together is the fact that their style is close to improvisation: for example, op.2 no.1 contains a ‘quasi-improvised’ ornamental movement that follows on directly from Sturm und Drang; and the other two sonatas are written like fantasias, with an almost introverted beginning to op.27 no.1 and a Schumannesque depth to op. 101. It was precisely this freedom that appealed to me, with its interruptions, its mystery,the absence of predictable form, and the way these works teem with little elements (as in Schumann and Haydn).But Beethoven was always careful to fit this freedom into a solid framework. I like that; I sense in that tension a ferment of vital energy. For me, Beethoven is a sort of essence of life. His music constantly moves forward, in a spirit of tremendous determination. It always shows signs of struggle. I feel deeply in tune with this search for energy. His music reflects my character, which is direct, optimistic and resolute....I see it as a model of rigour, which doesn’t leave any room for complacency or facility. I also admire the balance it strikes between Classical mastery of form and the emergence of Romantic pathos. In fact, Beethoven represents for me a form of human and musical authenticity.’ Hélène Couvert (interviewed by Emmanuel Hondré)

“Surprisingly András Schiff has resisted the temptation to embark on a complete recording of Beethoven’s Piano Sonatas until now… His prime aim seems to have been to revisit music that is all too often taken for granted and so he sets out to re-emphasise the revolutionary nature of Beethoven’s writing… Throughout this finely recorded set, Schiff highlights plenty of details that tend to be bypassed by other artists, and for this reason his performances deserve an enthusiastic recommendation.” - Erik Levi, BBC Music Magazine *****

“Brautigam gives full weight to its full-blooded textures and capturing all the music’s energy and excitement.” (BBC Music Magazine)