PDF Piano Sonata No. 2, Op. 2 no. 2 (Beethovens Werke, Serie XVI)

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English German French Textural transparency, expressive economy, creative inspiration, high humour and strategically placed silences characterise these three Haydn, Beethoven and Mozart sonatas, as well as Rafal Blechacz's splendid, beautifully recorded interpretations.


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While he clearly enjoys his virtuosity, the pianist almost always directs his fingers towards musical ends. The first movement's unexpected twists and turns and the Rondeau finale's rests couldn't be more effectively placed in time, while the central Andantino's vocal eloquence and dramatic touches organically fuse in Blechacz's intelligent hands.

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What is most immediately striking is the crisp buoyancy of Blechacz's articulation, reinforced by the upfront clarity of the recorded sound, which has a characteristic 'ping' that suits much of the music. The DG engineers avoid any hint of soft-focus glow. The playing itself is full of flair and charm.

With brisk tempos he conveys both serious intent and huge enjoyment, giving the music shape and driving momentum. The Mozart brims with "joie de vivre", displaying a classical poise and subtlety of expressive range.


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And Blechacz also revels in Beethoven's exuberant A major Sonata. Sein Spiel ist voller Eleganz und Charme.

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He plunges into the first movement with an almost explosive ferocity and thrust. Yet the playing never seems frantic.

With exceptionally clean, crisp articulation, the movement's boldness emerges with an etched clarity in which every line, no matter how rapidly articulated, is clearly focused, dynamic contrasts sharply but not excessively drawn and surprises never underplayed. The ensuing Adagio on a par with the finest slow movements in Haydn's quartets is a prime example of Beethoven before Beethoven in its almost suspended stasis.

Diary entry by Schenker for 19 February Diary entry by Schenker for 27 February Diary entry by Schenker for 18 March Diary entry by Schenker for 19 March Diary entry by Schenker for 25 March Diary entry by Schenker for 21 April Diary entry by Schenker for 27 April Diary entry by Schenker for 28 April Diary entry by Schenker for 14 May Diary entry by Schenker for 22 May Diary entry by Schenker for 20 September Diary entry by Schenker for 23 September Diary entry by Schenker for 1 November Diary entry by Schenker for 14 December Diary entry by Schenker for 5 February Diary entry by Schenker for 9 February Diary entry by Schenker for 16 February Diary entry by Schenker for 30 March Diary entry by Schenker for 12 April Diary entry by Schenker for 23 April Diary entry by Schenker for 1 May Diary entry by Schenker for 20 May Diary entry by Schenker for 21 May Diary entry by Schenker for 11 June Diary entry by Schenker for 20 August Diary entry by Schenker for 30 September Diary entry by Schenker for 2 October Diary entry by Schenker for 7 October Diary entry by Schenker for 15 October Diary entry by Schenker for 20 November Diary entry by Schenker for 9 December Diary entry by Schenker for 15 December Diary entry by Schenker for 22 December Diary entry by Schenker for 28 December Diary entry by Schenker for 3 January Diary entry by Schenker for 6 January Diary entry by Schenker for 7 January Diary entry by Schenker for 27 January Diary entry by Schenker for 28 January Diary entry by Schenker for 6 February Diary entry by Schenker for 10 February Diary entry by Schenker for 11 February Diary entry by Schenker for 24 February Diary entry by Schenker for 11 March Diary entry by Schenker for 29 March Diary entry by Schenker for 31 March Diary entry by Schenker for 14 April Diary entry by Schenker for 24 May Diary entry by Schenker for 31 May Diary entry by Schenker for 6 July Diary entry by Schenker for 24 July Diary entry by Schenker for 22 September Diary entry by Schenker for 3 November Diary entry by Schenker for 8 November Diary entry by Schenker for 9 November Diary entry by Schenker for 28 February Diary entry by Schenker for 2 April Diary entry by Schenker for 6 May Diary entry by Schenker for 11 May Diary entry by Schenker for 11 November Diary entry by Schenker for 12 November Diary entry by Schenker for 30 November Diary entry by Schenker for 1 December Diary entry by Schenker for 16 December Diary entry by Schenker for 13 April Tovey wrote, "The second sonata is flawless in execution and entirely beyond the range of Haydn and Mozart in harmonic and dramatic thought, except in the Finale.

Piano Sonata No. 2 (Beethoven) - Wikipedia

An athletic movement that has a bright disposition. The second theme of exposition contains some striking modulations for the time period. A large portion of the development section is in F major, which contains a third relationship with the key of the work, A major.

Beethoven: Sonata No.2 in A Major, Op.2 No.2 (Blechacz, Kovacevich, Pletnev)

A difficult, but beautiful canonic section is also to be found in the development. The recapitulation contains no coda and the movement ends quietly and unassumingly. Tovey wrote, "The opening of the second subject in the first movement is a wonderful example of the harmonic principle previously mentioned In all music, nothing equally dramatic can be found before the D minor sonata Opus 31 No.

Piano Sonata No.2, Op.2 No.2 (Beethoven, Ludwig van)

One of the few instances in which Beethoven uses the tempo marking "Largo", which was the slowest such marking for a movement. The opening imitates the style of a string quartet and features a staccato pizzicato -like bass against lyrical chords. A high degree of contrapuntal thinking is evident in Beethoven's conception of this movement.


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