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Beethoven: Piano Sonatas Opp. 90, 101, 109 & 110
BEETHOVEN Piano Sonatas Nos. 27, 28, 30, 31 ā¢ Dina Ugorskaja (pn) ā¢ CAVI 8553299 (77:35)
Dina Ugorskaja, the daughter of the pianist Anatol Ugorski, is a Russian pianist and composer trained in Germany. Early in her career, she has already recorded Beethovenās āHammerklavierā and op. 111 sonatas, the Chopin preludes, and a disc of Handel suites. The Sonata No. 27, the first of the 32 in which Beethoven uses German to indicate the movementsā tempo and character, is the piano work in which Beethovenās late period begins, and Ugorskajaās playing is fully alive to the quick changes of mood in its stark, febrile first movement, with extremely sensitive pacing of the rise and fall of each phrase, and careful weighing of tone. Her tempo for the second movement is on the slow side, but the melody is patiently shaped, as if sung, never in a hurry. This is a terrific performance of an elusive work.
Ugorskajaās well-projected, unforced sound, and instinctively rhapsodic, though tasteful, responses to the musicās changes of character, are a good fit with the predominantly lyrical sonatas Nos. 30 and 31, though thereās real grandeur in her playing in the sections that need it. How beautifully she plays the right hand melody in No. 30ās third movementās first variation, in which Beethoven uncannily anticipates the ornamented singing line of Chopinās nocturnes, pieces that Iād love to hear her play. No. 31 receives a properly serious, thoughtfully savored reading, with highly expressive playing in the mystical latter sections of the piece. There are one or two moments in the first movement where Ugorskajaās impulse to move the music forward detracts from the movementās benign, stable character, but thatās a small quibble.
In op. 101 (Sonata No. 28), I was a little disappointed in her reading of the second movement, a tricky, fast march. In it, her espressivo approach, so winning in the sonataās first movement, isnāt always rhythmically consistent enough in the repeated dotted rhythms. (Igor Levitās splendid performance on a recent Sony disc has more speed and better control.) Nonetheless, Ugorskajaās late Beethoven is cognizant of the sonatasā details and structure, and manages to sound personally expressive without being self-indulgent. Caviās engineering captures the depth and variety of her splendid, āopenā sound. Highly recommended.
FANFARE: Paul Orgel
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Beethoven: Piano Sonatas Opp. 90, 101, 109 & 110
Beethoven: Piano Sonatas Opp. 90, 101, 109 & 110
BEETHOVEN Piano Sonatas Nos. 27, 28, 30, 31 ā¢ Dina Ugorskaja (pn) ā¢ CAVI 8553299 (77:35)
Dina Ugorskaja, the daughter of the pianist Anatol Ugorski, is a Russian pianist and composer trained in Germany. Early in her career, she has already recorded Beethovenās āHammerklavierā and op. 111 sonatas, the Chopin preludes, and a disc of Handel suites. The Sonata No. 27, the first of the 32 in which Beethoven uses German to indicate the movementsā tempo and character, is the piano work in which Beethovenās late period begins, and Ugorskajaās playing is fully alive to the quick changes of mood in its stark, febrile first movement, with extremely sensitive pacing of the rise and fall of each phrase, and careful weighing of tone. Her tempo for the second movement is on the slow side, but the melody is patiently shaped, as if sung, never in a hurry. This is a terrific performance of an elusive work.
Ugorskajaās well-projected, unforced sound, and instinctively rhapsodic, though tasteful, responses to the musicās changes of character, are a good fit with the predominantly lyrical sonatas Nos. 30 and 31, though thereās real grandeur in her playing in the sections that need it. How beautifully she plays the right hand melody in No. 30ās third movementās first variation, in which Beethoven uncannily anticipates the ornamented singing line of Chopinās nocturnes, pieces that Iād love to hear her play. No. 31 receives a properly serious, thoughtfully savored reading, with highly expressive playing in the mystical latter sections of the piece. There are one or two moments in the first movement where Ugorskajaās impulse to move the music forward detracts from the movementās benign, stable character, but thatās a small quibble.
In op. 101 (Sonata No. 28), I was a little disappointed in her reading of the second movement, a tricky, fast march. In it, her espressivo approach, so winning in the sonataās first movement, isnāt always rhythmically consistent enough in the repeated dotted rhythms. (Igor Levitās splendid performance on a recent Sony disc has more speed and better control.) Nonetheless, Ugorskajaās late Beethoven is cognizant of the sonatasā details and structure, and manages to sound personally expressive without being self-indulgent. Caviās engineering captures the depth and variety of her splendid, āopenā sound. Highly recommended.
FANFARE: Paul Orgel
$19.99
Beethoven: Piano Sonatas Opp. 90, 101, 109 & 110ā
$19.99
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BEETHOVEN Piano Sonatas Nos. 27, 28, 30, 31 ā¢ Dina Ugorskaja (pn) ā¢ CAVI 8553299 (77:35)
Dina Ugorskaja, the daughter of the pianist Anatol Ugorski, is a Russian pianist and composer trained in Germany. Early in her career, she has already recorded Beethovenās āHammerklavierā and op. 111 sonatas, the Chopin preludes, and a disc of Handel suites. The Sonata No. 27, the first of the 32 in which Beethoven uses German to indicate the movementsā tempo and character, is the piano work in which Beethovenās late period begins, and Ugorskajaās playing is fully alive to the quick changes of mood in its stark, febrile first movement, with extremely sensitive pacing of the rise and fall of each phrase, and careful weighing of tone. Her tempo for the second movement is on the slow side, but the melody is patiently shaped, as if sung, never in a hurry. This is a terrific performance of an elusive work.
Ugorskajaās well-projected, unforced sound, and instinctively rhapsodic, though tasteful, responses to the musicās changes of character, are a good fit with the predominantly lyrical sonatas Nos. 30 and 31, though thereās real grandeur in her playing in the sections that need it. How beautifully she plays the right hand melody in No. 30ās third movementās first variation, in which Beethoven uncannily anticipates the ornamented singing line of Chopinās nocturnes, pieces that Iād love to hear her play. No. 31 receives a properly serious, thoughtfully savored reading, with highly expressive playing in the mystical latter sections of the piece. There are one or two moments in the first movement where Ugorskajaās impulse to move the music forward detracts from the movementās benign, stable character, but thatās a small quibble.
In op. 101 (Sonata No. 28), I was a little disappointed in her reading of the second movement, a tricky, fast march. In it, her espressivo approach, so winning in the sonataās first movement, isnāt always rhythmically consistent enough in the repeated dotted rhythms. (Igor Levitās splendid performance on a recent Sony disc has more speed and better control.) Nonetheless, Ugorskajaās late Beethoven is cognizant of the sonatasā details and structure, and manages to sound personally expressive without being self-indulgent. Caviās engineering captures the depth and variety of her splendid, āopenā sound. Highly recommended.
FANFARE: Paul Orgel
