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Beethoven - Piano Concerto No.4, Piano Sonatas

£16.33

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Label: Channel Classics

Cat No: CCSSA30511

Barcode: 0723385305118

Format: Hybrid SACD

Number of Discs: 1

Release Date: 7th February 2011

Works

Beethoven, Ludwig van

Piano Concerto no.4 in G major, op.58
Piano Sonata no.14 in C sharp minor, op.27 no.2 'Moonlight'
Piano Sonata no.31 in A flat major, op.110

Artists

Dejan Lazic (piano)
Australian Chamber Orchestra

Conductor

Richard Tognetti

Works

Beethoven, Ludwig van

Piano Concerto no.4 in G major, op.58
Piano Sonata no.14 in C sharp minor, op.27 no.2 'Moonlight'
Piano Sonata no.31 in A flat major, op.110

Artists

Dejan Lazic (piano)
Australian Chamber Orchestra

Conductor

Richard Tognetti

About

The follow-up to Dejan Lazic’s impressive, if controversial, arrangement for piano of Brahm’s Violin Concerto, and a string of critically lauded ‘Liasons’ discs.

"Dejan Lazic is a composer himself, and he embraces this repertoire as if from inside" - Classic FM Magazine

One of the most challenging of the younger generation of pianists, Lazic’s performances always have something fresh and relevant to say, whilst being a tour de force of technical excellence.

In his liner notes, Dejan tells us about the rediscovery of Beethoven's arrangement, about improvising cadenzas and links between the Concerto and Sonatas on this disc: - ‘we followed many paths and took many risks, all to the benefit of the music and Beethoven's score. In purely musical terms, this 'outcome', with the Australian Chamber Orchestra directed by Richard Tognetti, is a mixed form or combination, in which the well-known version for piano and (symphony) orchestra, performed as usual with a conductor, is brought together with the newly discovered chamber version for piano and string quintet. ... In Beethoven's time it was customary that the soloist, who was often a composer as well, improvised the cadenzas. Beethoven personally challenged the young Franz Liszt not only to compose more, but also generally to improvise more at the cadenzas. I have therefore taken the liberty of writing my own cadenzas for the first and last movements. ... In both sonatas, Beethoven writes the menuetto/scherzo as second movement, instead of as third as was customary. Generally speaking, the term romantic irony links the two sonatas to the piano concerto. Around 1800, Friedrich Schlegel had already formulated his concept of romantic irony, and Ludwig van Tieck employed it slightly later in his literary comedies.'