Beethoven: Piano Sonatas Nos. 30-32 (2012)

Beethoven

Mari Kodama

Ludwig van Beethoven wrote his last Piano Sonatas Op. 109, 110 and 111 between 1820 and 1822. They are the last three of thirty-two different solutions pro- vided by the composer in this category, which began with the first sketches for his Sonata Op. 2 in 1790. Listeners and perform- ers alike – of whom literally everything is demanded – find these sonatas to be highly individual works, expressive in gesture and attitude as well as aesthetically independent. The last piano sonatas represent one of the greatest legacies in musical history and are considered an enigma to this day. For they have the ability to rise above the purely musical text, raising deeply human ques- tions and entering into realms that cannot be fathomed by means of any analytical tool. For they present a certain mindset, which is far from any kind of “Gebrauchsmusik” (= functional music): not only do they offer solutions to the technical and structural compositional problems of their time, they also drag the human as an individual into the spotlight. With his last three sonatas, Beethoven bequeathed to posterity – and thus also to the listeners of today – an exten- sive field, cultivated for us by interpreters such as Mari Kodama. For otherwise it would lie fallow forever. 

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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. 30-32 (2012)

Beethoven

Mari Kodama

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

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PTC5186389: Beethoven: Piano Sonatas Nos. 30-32
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Tracks.
1.
Beethoven Piano Sonata No.30, Vivace ma non troppo
Beethoven
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2.
Beethoven Piano Sonata No.30, Prestissimo
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3.
Beethoven Piano Sonata No.30, Andante molto cantabile
Beethoven
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4.
Beethoven Piano Sonata No.31, Moderato cantabile
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5.
Beethoven Piano Sonata No.31, Allegro molto
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6.
Beethoven Piano Sonata No.31, Adagio ma non troppo
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7.
Beethoven Piano Sonata No.31, Fuga
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8.
Beethoven Piano Sonata No.32, Maestoso
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9.
Beethoven Piano Sonata No.32, Arietta
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