Beethoven: Piano Sonatas Nos. 5-7 (2011)

Beethoven

Mari Kodama

One could succinctly describe the Piano Sonatas Op. 10 – composed between 1796 and 1798 – as a “trilogy of contrasts”. As he had already done in Op. 2 and Op. 27, here Beethoven has collated various works in a single opus number. And his reason for doing so was not purely based on com- merce; in fact, he was motivated mainly by the musical content. These three works from his early sonata period exhibit artistic development, extensive contrasting, and independent formulation: not until his later works, in fact, do these three factors reap- pear at this same level. He dedicated the sonatas to the Countess Anna Margarete von Browne, a society lady in Vienna.

The Sonatas are written in the keys of C minor (No. 1), F major (No. 2) and D major (No. 3), and contain a varying num- ber of movements. The three-movement Sonatas Nos. 1 and 2 lack a Minuet, or slow movement, whereas No. 3 consists of four movements. The American Beethoven- expert, William Kinderman, emphasizes the distinctive diversity of the Sonatas par- ticularly in their first movements: “...the terse, dramatic idiom of the C-minor Sonata sets into relief the relaxed, mischievous spirit of the F-major, whereas the dynamic brilliance of the third sonata, in D major, expands the formal design from within.”

 

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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. 5-7 (2011)

Beethoven

Mari Kodama

Cables: van den Hul
Digital Converters: Meitner DSD AD/DA
Producer: Wilhelm Hellweg
Recording Engineer: Jean Marie Geijsen, Daan van Aalst
Recording location: Concertboerderij Valthermond, The Netherlands
Recording Software: Merging
Recording Type & Bit Rate: DSD64

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PTC5186377: Beethoven: Piano Sonatas Nos. 5-7
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Tracks.
1.
Beethoven Piano Sonata No.7, Presto
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2.
Beethoven Piano Sonata No.7, Largo e mesto
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3.
Beethoven Piano Sonata No.7, Menuetto
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4.
Beethoven Piano Sonata No.7, Rondo
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5.
Beethoven Piano Sonata No.6, Allegro
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6.
Beethoven Piano Sonata No.6, Allegretto
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7.
Beethoven Piano Sonata No.6, Presto
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8.
Beethoven Piano Sonata No.5, Allegro molto e con brio
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9.
Beethoven Piano Sonata No.5, Adagio molto
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10.
Beethoven Piano Sonata No.5, Finale
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