Classical Music: Beethoven Kavatine - Sonatas Op. 109, 110 & 111

Beethoven: Kavatine - Sonatas Op. 109, 110 & 111

Christian Sandrin plays a Steinway & Sons grand model D 602930
Recorded MotorMusic Studios, Belgium
Evil Penguin EPRC0068
eprclassic.eu

There is a peculiar challenge in approaching Beethoven's final piano sonatas. The performer must simultaneously honour the composer's meticulously detailed instructions while discovering the unwritten essence that breathes life into these monumental works. In his latest recording, Christian Sandrin achieves this delicate balance with remarkable assurance.

Composed in tandem with the Missa Solemnis and the Diabelli Variations, and in spite of Beethoven's aggravating deafness and social isolation, the Final Triptych of Sonatas op. 109, 110 and 111 reveal an optimistic approach to life and music, as well as painting a vast emotional and psychological landscape.

Sandrin notes that once one moves beyond the sheer greatness of Beethoven's output and delves into the emotional core of this music, a wealth of expressive features emerge from between the staves. Though Beethoven was revolutionary in his precise performance directions, these markings alone cannot fully animate the music. The true artistry lies in navigating the infinite gradations of piano, the nuanced execution of crescendos, the interpretation of sotto voce passages, and the profound realisation of mit inningsten Empfindung (with deepest feeling).

Sandrin uncovers the spiritual and emotional essence of Beethoven's last two sonatas with a refreshingly uncomplicated approach. His playing communicates the fabric behind Beethoven's intentions with glorious energy that possesses a latent, understated quality.

The first of the trio, Op. 109, skillfully shows the sound world we can expect from this fine pianist as he immediately captures the spirit with its melodious opening. There are lots of moods in this piece where Sandrin navigates the rhythm and tempo changes well, demonstrating technical artistry and virtuosity.

The Sonata Op. 110 is superbly judged, displaying a clarity that remains expressive without veering into sentimentality. His technical precision is superb—the lyrical passages, arpeggios and left-hand figurations are delivered with lucidity and rhythmic vitality. Every phrase is intelligibly shaped, with the adagio's beautiful lines communicating beyond the loudspeakers. The crescendo towards the concluding bars leaves one nearly breathless.

Between the two sonatas sits Tausig's rarely performed arrangement of the Kavatine from Beethoven's String Quartet No. 13. As Sandrin notes, these six minutes of sublime music serve as both an epilogue to Op. 110's serenity and a pathway to Op. 111's unfathomable harmonies. Sandrin captures the mood perfectly, his magnetic charm making this interlude thoroughly engrossing.

The programme culminates in Beethoven's magnificent Op. 111, beginning with a powerful Maestoso section where Sandrin demonstrates exemplary dynamic control. The coordination between his hands is marvellous, with crescendos and bass notes beautifully executed with rhythmic precision. His handling of the shifting tempi and sforzando markings adds compelling drama to the performance. The transition to the 12/32 section at bar 49 delivers its expected thrill, and after all the excitement, Sandrin's virtuosity remains indisputable as the final trills draw us to a heavenly conclusion.

Throughout this recording, Sandrin combines impeccable technique with infectious passion, offering a Beethoven interpretation that is straightforward yet profoundly effective—much like the captivating album cover that houses this remarkable musical journey.