Beethoven: Piano Sonatas Nos. 9, 10, 19, 20, 24 & 25 (2010)

Beethoven

Mari Kodama

The great Canadian pianist Glenn Gould said he had come to realize that Beethoven was just always too busy being Beethoven. One would agree with this only too readily, were it not, for instance, for Beethoven’s six piano sonatas recorded on this CD (and, of course, a few others works), which in no way fit in with the image of the “titan”, as indicated by Gould’s remark. Within the music literature, the sonatas are considered “easy”, especially with regard to the demands made of the pianist – and therefore they are considered ideal introduc- tory works for the advanced piano pupil. As regards the standard of composition, they each provide a perfect example of the great art of simplicity. Thus the subtle differen- tiations and extreme skill with which the composer wrote the works are not clearly apparent upon first hearing. Within the cos- mos of Beethoven’s 32 Piano Sonatas, they represent lyrical islands, being less reli- giously fervent and affirmative as his other works in this genre (which also enjoy greater popularity and public success). The lyrical attraction of these sonatas is certainly also due to the specifically educational purposes for which they were written: accordingly, Beethoven also had to consider the pianistic skills of his pupils when composing the works.

 

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Mari Kodama

Mari Kodama was born in Osaka, Japan and began playing the piano at the age of three with her mother. Her family moved to Europe when she was six. Eight years later she entered the Conservatoire National Superieur de Paris aged 14, where she studied piano with Germaine Mounier and chamber music with Genevieve Joy-Dutilleux. Three years later, she obtained the premier prix and completed her studies with honours (cycle de perfectionnement) at the age of 19. While still a student, she won prizes at several international competitions (including Jeunesse Musicale de Suisse, Viotti - Valsesia, Citta di Senigallia, and F. Busoni in Bolzano).

After completing her studies, she was immediately invited by the London Philharmonic Orchestra to play Prokofiev’s Piano Concerto No.3, followed by a recital at the outhbank Centre. Gramophone reviewed her later recording of this work under conductor Kent Nagano as follows: "Mari Kodama's tone is beautifully shaded and she makes a lovely, liquid sound... piano playing of a distinctive sensitivity...It all adds up to a genuinely fresh, and refreshing view..." Since then, she has given concerts in Europe, USA, Singapore and Japan, where she made her orchestral debut in Tokyo under Raymond Leppard in Ravel’s Piano Concerto in G. Major orchestras with which Mari Kodama has performed include the Berlin Philharmonic Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, Halle Orchestra, Norddeutsche Rundfunk, Dutch Radio Chamber Orchestra, Wiener Symphoniker, American Symphony Orchestra.

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Beethoven: Piano Sonatas Nos. 9, 10, 19, 20, 24 & 25 (2010)

Beethoven

Mari Kodama

Cables: van den Hul
Digital Converters: Meitner DSD AD/DA
Producer: Wilhelm Hellweg
Recording Engineer: Jean Marie Geijsen, Daan van Aalst
Recording location: Concertboerderij Valthermond, the Netherlands
Recording Software: Merging
Recording Type & Bit Rate: DSD64

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PTC5186304: Beethoven: Piano Sonatas Nos. 9, 10, 19, 20, 24 & 25
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Tracks.
1.
Beethoven Piano Sonata No.25, Presto alle tedesca
Beethoven
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2.
Beethoven Piano Sonata No.25, Andante
Beethoven
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3.
Beethoven Piano Sonata No.25, Vivace
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4.
Beethoven Piano Sonata No.24, Adagio cantabile
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5.
Beethoven Piano Sonata No.24, Allegro vivace
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6.
Beethoven Piano Sonata No.9, Allegro
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7.
Beethoven Piano Sonata No.9, Allegretto
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8.
Beethoven Piano Sonata No.9, Rondo
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9.
Beethoven Piano Sonata No.10, Allegro
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10.
Beethoven Piano Sonata No.10, Andante
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11.
Beethoven Piano Sonata No.10, Scherzo
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12.
Beethoven Piano Sonata No.19, Andante
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13.
Beethoven Piano Sonata No.19, Rondo
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14.
Beethoven Piano Sonata No.20, Allegro ma non troppo
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15.
Beethoven Piano Sonata No.20, Tempo di menuetto
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