Daniel Heide - Beethoven: Piano Sonatas Nos. 17 “The Tempest”, 20, 27 & 31 (2023) [Hi-Res]

Tracklist

01. Piano Sonata No. 27 in E Minor, Op. 90: I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
02. Piano Sonata No. 27 in E Minor, Op. 90: II. Nicht zu geschwind und sehr singbar vorgetragen
03. Piano Sonata No. 17 in D Minor, Op. 31 No. 2 "The Tempest": I. Largo - Allegro
04. Piano Sonata No. 17 in D Minor, Op. 31 No. 2 "The Tempest": II. Adagio
05. Piano Sonata No. 17 in D Minor, Op. 31 No. 2 "The Tempest": III. Allegretto
06. Piano Sonata No. 20 in G Major, Op. 49 No. 2: I. Allegro ma non troppo
07. Piano Sonata No. 20 in G Major, Op. 49 No. 2: II. Tempo di Menuetto
08. Piano Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile molto espressivo
09. Piano Sonata No. 31 in A-Flat Major, Op. 110: II. Allegro molto
10. Piano Sonata No. 31 in A-Flat Major, Op. 110: IIIa. Adagio ma non troppo
11. Piano Sonata No. 31 in A-Flat Major, Op. 110: IIIb. Fuga (Allegro ma non troppo)



DANIEL HEIDE , better known worldwide as a chamber musician and highly appreciated partner of singers for song recitals, is one of the most sought-after German pianists, also because of his profound musicality. He discovered singers like Konstantin Krimmel, Andrè Schuen and also the soprano Katharina Konradi; his recordings with them were celebrated as highly acclaimed CD premieres. Here he rediscovers his old love for the Beethoven sonatas and the result is now available - Vol. III. I and the Middle and Later. Result of the pandemic coping and rediscovery Beethoven's sonatas Vol. III. "My complete recording of Ludwig van Beethoven's piano sonatas definitely follows autobiographical traits in the order and programming of the individual volumes. In my pianistic work over the past 15 years, an ever-increasing focus on making music in partnership has emerged. What began as general chamber music making with instrumentalists and singers has developed more and more into concert activity in duo, mainly in recitals worldwide. That this approach in its frequency would be enough for a stable living, I had hardly dared to dream before. When asked what was actually going on with my solo playing, I could only ever answer with a shrug and point out that I needed something like a sabbatical to practice solo repertoire in peace and come back to playing piano recitals. Then came Corona. Suddenly there was the time. (Excerpt from the booklet text, by the performer)

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