Roberto Prosseda - Ludwig van Beethoven: Sonatas Op. 2 (2024) [Hi-Res]

Tracklist

01. Sonata Op. 2, No. 1 in F Minor: I. Allegro
02. Sonata Op. 2, No. 1 in F Minor: II. Adagio (Fa maggiore)
03. Sonata Op. 2, No. 1 in F Minor: III. Minuetto. Allegretto
04. Sonata Op. 2, No. 1 in F Minor: IV. Prestissimo
05. Sonata Op. 2, No. 2 in A Major: I. Allegro vivace
06. Sonata Op. 2, No. 2 in A Major: II. Largo appassionato
07. Sonata Op. 2, No. 2 in A Major: III. Scherzo. Allegretto
08. Sonata Op. 2, No. 2 in A Major: IV. Rondo
09. Sonata Op. 2, No. 3 in C Major: I. Allegro con brio
10. Sonata Op. 2, No. 3 in C Major: II. Adagio
11. Sonata Op. 2, No. 3 in C Major: III. Scherzo
12. Sonata Op. 2, No. 3 in C Major: IV. Allegro. Assai

Can something new, interesting and ‘true’ still be said about the interpretation of Beethoven’s sonatas? I believe so, provided we break out of the conventions created by the tradition of interpretation and discography, where in 98% of cases a modern piano is used. Therefore, I thought that the choice of recording Beethoven on a historical instrument could also be a way for a more individual interpretative investigation, free from the models that listening to famous recordings on a modern piano risks accustoming us to. I do not believe that there is a ‘right’ and a ‘wrong’ instrument on which to perform Beethoven’s Sonatas Opus 2. What matters is the musical result. It depends on the alchemy that is created between the performer and the instrument. Before I came to choose the Graf No. 429, I tried at length various modern copies of fortepiano from 1795 - 1800, trying to get closer to the sound and expressive world of early Beethoven. However, having the opportunity of having a Graf fortepiano (No. 429) in my studio, restored in 2023, I was able to prepare this recording on that instrument, playing it regularly for a year, achieving a kind of familiarity with its action and timbral response that I have grown fond of.

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