Beethoven: Piano Sonatas Nos. 16-18 (2006)

Beethoven

Mari Kodama

The Sonatas Op. 31, which were composed during the years 1801/02, occupy a special place in Beethoven’s sonata oeuvre, as they mark a new beginning for the composer, which he described to his pupil Carl Czerny as follows: “I am not content with the work I have written so far. From now onwards, I want to tread a different path.” Op. 31 is a direct first result of this “different path” (even though the Sonatas Op. 26, 27 and 28 already clearly deviated in form, especially from the basic cyclical sonata model). Literature justly points out that – in Beethoven’s oeuvre – the Classical sonata model at the beginning of this phase had, in fact, come to an end. And, to the same degree, just as the all-embracing scheme from now onwards became increasingly individual, so the individual types of movement were also caught in the wake of the changes. For example, the first movement based on the sonata form, which so far had been considered a valid basis for a first movement,wasbrokenupstructurally without, however, rigorously doing away with the traditional foil. And the second theme, the first theme once again returns in the tonic; the second theme is then presented in the “forbidden” mediant of B major. Dur- ing the development, the first theme dominates; in the recapitulation, the second theme; after which the move- ment resolves itself successively in the Coda in its different segments. The slow movement makes an artifi- cial – although highly subtle – impres- sion due to its serenade-like elegance (or is this more like an aria?) with numerous ornaments. As far as form is concerned, Beethoven mixes ele- ments here from both the rondo and the sonata movement. 

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Mari Kodama

Mari Kodama was born in Osaka, Japan and began playing the piano at the age of three with her mother. Her family moved to Europe when she was six. Eight years later she entered the Conservatoire National Superieur de Paris aged 14, where she studied piano with Germaine Mounier and chamber music with Genevieve Joy-Dutilleux. Three years later, she obtained the premier prix and completed her studies with honours (cycle de perfectionnement) at the age of 19. While still a student, she won prizes at several international competitions (including Jeunesse Musicale de Suisse, Viotti - Valsesia, Citta di Senigallia, and F. Busoni in Bolzano).

After completing her studies, she was immediately invited by the London Philharmonic Orchestra to play Prokofiev’s Piano Concerto No.3, followed by a recital at the outhbank Centre. Gramophone reviewed her later recording of this work under conductor Kent Nagano as follows: "Mari Kodama's tone is beautifully shaded and she makes a lovely, liquid sound... piano playing of a distinctive sensitivity...It all adds up to a genuinely fresh, and refreshing view..." Since then, she has given concerts in Europe, USA, Singapore and Japan, where she made her orchestral debut in Tokyo under Raymond Leppard in Ravel’s Piano Concerto in G. Major orchestras with which Mari Kodama has performed include the Berlin Philharmonic Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, Halle Orchestra, Norddeutsche Rundfunk, Dutch Radio Chamber Orchestra, Wiener Symphoniker, American Symphony Orchestra.

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Beethoven: Piano Sonatas Nos. 16-18 (2006)

Beethoven

Mari Kodama

Cables: van den Hul
Digital Converters: MeithnerDSD AD/DA
Microphones: DPA 4011 4006
Producer: Wilhelm Hellweg
Recording Engineer: Jean Marie Geijsen
Recording location: Doopsgezinde Kerk, Haarlem, The Netherlands
Recording Software: Merging
Recording Type & Bit Rate: DSD64

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PTC5186063: Beethoven: Piano Sonatas Nos. 16-18
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Tracks.
1.
Beethoven Sonata No.16, Allegro vivace
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2.
Beethoven Sonata No.16, Adagio grazioso
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3.
Beethoven Sonata No.16, Rondo allegretto
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4.
Beethoven Sonata No.17, Largo-Allegro
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5.
Beethoven Sonata No.17, Adagio
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6.
Beethoven Sonata No.17, Allegretto
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7.
Beethoven Sonata No.18, Allegro
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8.
Beethoven Sonata No.18, Scherzo
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9.
Beethoven Sonata No.18, Menuetto
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10.
Beethoven Sonata No.18, Presto con fuoco
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