The final volume of pianist Paavali Jumppanen’s acclaimed cycle of Beethoven piano sonatas. This volume combines the early Op. 7 and the famous Pathétique sonata together with the Last Sonatas Opp. 109-111 written by Beethoven in the 1820s. Jumppanen has collaborated with numerous contemporary composers and premiering many solo and chamber works for the piano.
Albanian-born, Geneva-based violinist Tedi Papavrami has not only fashioned a major international career on the concert stage, but has had success as an actor, notably in France. That said, his focus remains on music, both as a performer and teacher. Papavrami has concertized across Europe, Israel, Turkey, and Japan, and appeared as soloist with such orchestras as the Orchestre de Paris, the Polish National Radio Symphony Orchestra, and the Bamberger Symphony.
Paavali Jumppanen is an internationally esteemed pianist, with a vast performance repertoire spanning from Bach to the Avant-garde. Jumppanen’s performances of the complete cycles of Beethoven’s and Mozart’s Piano Sonatas as well as Beethoven’s concertos and chamber music have won critical acclaim. Jumppanen has collaborated with numerous contemporary composers and has premiered many solo and chamber works for the piano. Of particular note are his recordings of Pierre Boulez’s complete piano sonatas at the request of the composer. This adaptability between musical genres gives a fresh reading of the core classical piano repertoire.
Angela Hewitt is rapidly establishing herself as one of the great pianists of our age, her concert career expanding as rapidly as her discography, so it seems only right that, following her success in tackling one of the pillars of classical music in Bach, she should tackle another in Beethoven. This volume commences a survey of Beethoven sonatas which will couple the well known, in this case the ‘Appassionata’, with the comparatively neglected, here the grandest of Beethoven’s early sonatas, his Op 7. The disc is completed with a superb performance of Op 10/3, one of the early sonatas where Beethoven can be seen breaking the bounds of convention to create the style which would define the great works of his middle period.
A case of deja entendu here, since I reviewed these performances when they originally came out. I enjoyed them then and still do, for both artists offer wit, affection and agility. One can at times think the sheer force and passion of Martha Argerich's personality a bit too obvious, not least in the C major Sonata, where Maisky characteristically sounds smoother and more persuasive.