Beethoven- Sonata in C Major, Op. 53 – Stravinsky- Petrushka

Hyperion Knight

Original Recording Format: Analog Tape
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When Beethoven left Bonn in 1792, few could have envisioned the titanic creations which would follow his arrival in Vienna. The Count Ferdinand von Waldstein could hardly have foreseen the prophetic nature of his parting words to Beethoven: “Mozart’s genius is still mourning the death of his ward. In the inexhaustible Haydn he found a refuge but no employment… Through unremitting industry you shall receive Mozart’s spirit from the hands of Haydn.” One can only imagine the exhilaration with which the Count must have greeted the sonata whose dedication immortalized his name.

The circumstances surrounding the creation of Petrouchka are well documented. After Stravinsky’s resounding success with “L’Oiseau de Feu” Diaghilev was most enthusiastic about the next proposed project, “Le Sacre du Printemps”. Stravinsky, evidently, felt the need for a momentary respite before tackling such a monumental project. In his own words:
“Before tackling the Sacre du Printemps…I wanted to refresh myself by composing an orchestral piece in which the piano would play the most important part-a sort of Konzertstuck. In composing the music, I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The outcome is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet.”


"Piano Sonata No. 21 in C Major, Op. 53, ""Waldstein"" - I. Allegro con brio"
"Piano Sonata No. 21 in C Major, Op. 53, ""Waldstein"" - II. Introduzione: Adagio molto - III. Rondo
3 Movements from Petrushka - No. 1. Danse russe (Russian Dance)
3 Movements from Petrushka - No. 2. Chez Petrouchka (Petrushka's Cell)
3 Movements from Petrushka - No. 3. La semaine grasse (The Shrove-tide Fair)

Total time: 00:38:54

Additional information





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Mastering Engineer

Rick Goldman



Original Recording Format

Recording Engineer

David A. WilsonThe perspective chosen for this recording is close enough to create the illusion that the instrument is in the listener's room, yet not so close as to give the impression of being “inside the instrument." The relatively intimate microphone placement allows the musical lines to be followed with great detail, which proves to be particularly rewarding with the Petrouchka.

Recording location

workshop of Sheldon Smith, Builder of the grand piano

Recording Type & Bit Rate

Analog to DSD64

Release DateNovember 16, 2014

Press reviews


“This is an utterly exciting recording. Buy it just to hear the piano, which has a more powerful lower register than even a Bosendorfer Imperial.”


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