Dina Ugorskaja - Beethoven: Piano Sonatas, Opp. 90, 101, 109 & 110 (2014)
BAND/ARTIST: Dina Ugorskaja
- Title: Beethoven: Piano Sonatas, Opp. 90, 101, 109 & 110
- Year Of Release: 2014
- Label: CAvi-music
- Genre: Classical Piano
- Quality: flac lossless
- Total Time: 01:17:51
- Total Size: 238 mb
- WebSite: Album Preview
Tracklist
01. Piano Sonata No. 27 in E Minor, Op. 90: I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
02. Piano Sonata No. 27 in E Minor, Op. 90: II. Nicht zu geschwind und sehr singbar vorzutragen
03. Piano Sonata No. 28 in A Major, Op. 101: I. Etwas lebhaft und mit der innigsten Empfindung. Allegretto ma non troppo
04. Piano Sonata No. 28 in A Major, Op. 101: II. Lebhaft, marschmässig. Vivace alla marcia
05. Piano Sonata No. 28 in A Major, Op. 101: III. Langsam und sehnsuchtsvoll. Adagio ma non troppo, con affeto - Presto
06. Piano Sonata No. 28 in A Major, Op. 101: IV. Geschwind, und doch nicht zu sehr und mit Entschlossenheit. Allegro
07. Piano Sonata No. 30 in E Major, Op. 109: I. Vivace - Ma non troppo
08. Piano Sonata No. 30 in E Major, Op. 109: II. Prestissimo
09. Piano Sonata No. 30 in E Major, Op. 109: III. Andante molto cantabile ed espressivo. Gesangvoll, mit innigster Empfindung
10. Piano Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile molto espressivo
11. Piano Sonata No. 31 in A-Flat Major, Op. 110: II. Allegro molto
12. Piano Sonata No. 31 in A-Flat Major, Op. 110: III. Adagio, ma non troppo - Fuga. Allegro ma non troppo
Dina Ugorskaja, the daughter of the pianist Anatol Ugorski, is a Russian pianist and composer trained in Germany. Early in her career, she has already recorded Beethoven’s “Hammerklavier” and op. 111 sonatas, the Chopin preludes, and a disc of Handel suites. The Sonata No. 27, the first of the 32 in which Beethoven uses German to indicate the movements’ tempo and character, is the piano work in which Beethoven’s late period begins, and Ugorskaja’s playing is fully alive to the quick changes of mood in its stark, febrile first movement, with extremely sensitive pacing of the rise and fall of each phrase, and careful weighing of tone. Her tempo for the second movement is on the slow side, but the melody is patiently shaped, as if sung, never in a hurry. This is a terrific performance of an elusive work.
01. Piano Sonata No. 27 in E Minor, Op. 90: I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
02. Piano Sonata No. 27 in E Minor, Op. 90: II. Nicht zu geschwind und sehr singbar vorzutragen
03. Piano Sonata No. 28 in A Major, Op. 101: I. Etwas lebhaft und mit der innigsten Empfindung. Allegretto ma non troppo
04. Piano Sonata No. 28 in A Major, Op. 101: II. Lebhaft, marschmässig. Vivace alla marcia
05. Piano Sonata No. 28 in A Major, Op. 101: III. Langsam und sehnsuchtsvoll. Adagio ma non troppo, con affeto - Presto
06. Piano Sonata No. 28 in A Major, Op. 101: IV. Geschwind, und doch nicht zu sehr und mit Entschlossenheit. Allegro
07. Piano Sonata No. 30 in E Major, Op. 109: I. Vivace - Ma non troppo
08. Piano Sonata No. 30 in E Major, Op. 109: II. Prestissimo
09. Piano Sonata No. 30 in E Major, Op. 109: III. Andante molto cantabile ed espressivo. Gesangvoll, mit innigster Empfindung
10. Piano Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile molto espressivo
11. Piano Sonata No. 31 in A-Flat Major, Op. 110: II. Allegro molto
12. Piano Sonata No. 31 in A-Flat Major, Op. 110: III. Adagio, ma non troppo - Fuga. Allegro ma non troppo
Dina Ugorskaja, the daughter of the pianist Anatol Ugorski, is a Russian pianist and composer trained in Germany. Early in her career, she has already recorded Beethoven’s “Hammerklavier” and op. 111 sonatas, the Chopin preludes, and a disc of Handel suites. The Sonata No. 27, the first of the 32 in which Beethoven uses German to indicate the movements’ tempo and character, is the piano work in which Beethoven’s late period begins, and Ugorskaja’s playing is fully alive to the quick changes of mood in its stark, febrile first movement, with extremely sensitive pacing of the rise and fall of each phrase, and careful weighing of tone. Her tempo for the second movement is on the slow side, but the melody is patiently shaped, as if sung, never in a hurry. This is a terrific performance of an elusive work.
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