Beethoven: Complete Piano Sonatas Vol. 2

In this video

Volume 2 of the Complete Piano Sonatas played by Giovanni Bellucci, contains the Sonatas Op. 22 till Op. 57, roughly named the Middle Period Beethoven (1770-1827).
Giovanni Bellucci is one of the most interesting and extraordinary pianists of today. Described by Piero Rattalino as “a force of nature, vast and palpitating”, his playing is highly original, striving to recreate the original impact of the works he is playing: “he takes us back to the Golden Age of the Piano” wrote Le Monde. His recordings, notably with works by Liszt, were showered with prizes such as Diapason d’Or, Choc, Editor’s Choice, CD Maestro etc.
Bellucci’s Beethoven is free, with a strong sense of rhetoric and improvisation, adhering nevertheless strictly to the score and its intentions. The result is fresh, exhilarating and illuminating, letting us marvel at the originality and genius of the music.
“Exhilarating, brilliant..never a dull moment..grandiosity of vision..”, as Fanfare wrote enthusiastically about Volume 1.

Composer: Ludwig van Beethoven
Artists: Giovanni Bellucci (piano)

The second volume of Giovanni Bellucci’s Beethoven cycle for Brilliant Classics takes the listener on a journey of six eventful years, from Op.22 of 1800 to the ‘Appassionata’ Sonata of 1806. During that time Beethoven established himself as Vienna’s pre-eminent pianist-composer. He came to regard Op.22 as the best of his ‘early’ sonatas but a sea-change in the deepening of his expression is already evident in the piano-writing of Op.26, with its funeral march ‘in memory of a hero’.

There follow the remarkable formal innovations of the Op.27 pair – No.2 immortally inscribed on the popular imagination as the ‘Moonlight’ – and then the smooth, undulating rhythms of the ‘Pastorale’ Op.28. The trio of Op.31 sonatas present a study in contrasts, from the graceful profile of No.1 in G major to the sound and fury of the ‘Tempest’ No.2 and then the hectic momentum of No.3, presaging the concision of works at the end
of his ‘middle’ period such as the ‘Serioso’ Quartet and the Eighth Symphony. The proportions of the two-movement Op.54 are even more tautly circumscribed, before the reach of Beethoven’s expressive range for his instrument expands to hitherto undreamt heights in the ‘Waldstein’ Op.53 and the ‘Appassionata’ Op.57.


Ludwig van Beethoven: Piano Sonata

No. 11 in B-Flat Major, Op. 22:
00:00:00 I. Allegro con brio
00:05:55 II. Adagio con molta espressione
00:15:31 III. Minuetto
00:19:15 IV. Rondo. Allegretto

No. 12 in A-Flat Major, Op. 26:
00:26:02 I. Andante con variazioni
00:34:47 II. Scherzo. Allegro molto
00:37:42 III. Marcia funebre sulla morte d’un eroe. Maestoso andante
00:45:46 IV. Allegro
No. 13 in E-Flat Major, Op. 27 No. 1:
00:48:44 I. Andante – Allegro – Tempo I
00:53:30 II. Allegro molto e vivace
00:55:13 III. Adagio con espressione
00:58:54 IV. Allegro vivace – Tempo I – Presto
No. 14 in C-Sharp Minor, Op. 27 No. 2:
01:04:48 I. Adagio sostenuto
01:10:36 II. Allegretto
01:13:46 III. Presto agitato
No. 16 in G Major, Op. 31 No. 1:
01:19:30 I. Allegro vivace
01:24:32 II. Adagio grazioso
01:37:21 III. Rondo. Allegretto
No. 17 in D Minor, Op. 31 No. 2:
01:43:57 I. Largo. Allegro
01:50:04 II. Adagio
01:57:29 III. Allegretto
No. 18 in E-Flat Major, Op. 31 No. 3:
02:05:29 I. Allegro
02:12:09 II. Scherzo. Allegretto vivace
02:16:18 III. Menuetto. Moderato e grazioso
02:21:27 IV. Presto con fuoco
No. 22 in F Major, Op. 54:
02:25:50 I. In tempo d’un menuetto
02:31:27 II. Allegretto
No. 15 in D Major, Op. 28:
02:36:38 I. Allegro
02:45:51 II. Andante
02:52:53 III. Scherzo. Allegro vivace
02:55:35 IV. Rondo. Allegro ma non troppo
No. 21 in C Major, Op. 53:
03:01:03 I. Allegro con brio
03:09:46 II. Introduzione. Adagio molto
03:14:33 III. Rondo. Allegretto moderato – Prestissimo
No. 23 in F Minor, Op. 57:
03:24:17 I. Allegro assai
03:34:54 II. Andante con moto
03:41:49 III. Allegro ma non troppo – Presto

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