Composer: Ludwig van Beethoven
Works: Piano Sonatas – No. 13 in E flat, Op. 27 No. 1, No. 14 in C sharp minor, Op. 27 No. 2, ‘Moonlight’, No. 30 in E, Op. 109
Performers: Maria João Pires (piano)
Recording: Recorded at Granja de Belgais, Portugal in June 2000 and May 2001 [DDD]
Label: Deutsche Grammophon (DG 453 457-2)
Beethoven’s piano sonatas occupy a pivotal role in the evolution of Western classical music, serving as a bridge between the Classical and Romantic eras. His Op. 27 sonatas, often referred to by their nicknames, highlight the composer’s burgeoning exploration of depth and emotional nuance. The ‘Moonlight’ Sonata, in particular, has solidified its place in the popular consciousness, yet it is the less frequently performed No. 1 in E flat that reveals a wealth of expressive potential. Maria João Pires’s interpretations of these works, along with the late Sonata Op. 109, illuminate Beethoven’s complex emotional landscape with remarkable clarity and sensitivity.
Pires’s approach to the Op. 27 No. 1 is refreshingly characterful. In the first movement, her lyrical outpouring in the Adagio con espressione is nothing short of enchanting, capturing the essence of Beethoven’s inherent melancholy. The transition to the Allegro molto e vivace is handled with a deftness that showcases her technical prowess while maintaining the movement’s jovial spirit. This vitality is infectious, and Pires’s articulation allows the music to dance with a life of its own. The closing movement marvels in its dexterity; the clarity of her fingerwork reveals the intricate counterpoint that often eludes lesser interpretations.
The ‘Moonlight’ Sonata is perhaps the most examined piece in the repertoire, yet Pires manages to imbue it with a sense of discovery. The first movement’s serene stillness is captivating, as Pires negotiates the delicate balance between simplicity and depth. This movement has a propensity to feel overfamiliar, yet her interpretation breathes new life into it, creating an intimate atmosphere that invites listeners into a reflective space. The final movement eschews the fire and brimstone often emphasized by other pianists, opting instead for a more lyrical approach that allows for the music’s subtleties to flourish. While some may prefer the dramatic flair of a Pollini or a Brendel, Pires’s reading possesses a unique introspective quality that resonates deeply.
Transitioning to Sonata Op. 109, Pires continues to display a profound understanding of Beethoven’s late style. The serenity of the opening movement sets a contemplative tone, while the second movement’s emphatic gestures provide a striking contrast. Here, Pires’s tonal shading highlights Beethoven’s emotive spectrum, showcasing her ability to navigate the composer’s burgeoning complexity. The final movement, with its intricate counterpoint and transcendent themes, is a masterclass in balance; Pires’s interpretation reveals a deep structural awareness that allows the music’s inherent grandeur to unfold organically. The trill-laden passages towards the conclusion are executed with a delicate touch, transforming the thematic material into something ethereal and uplifting.
The sound quality of this recording, captured in the tranquil setting of Granja de Belgais, is exceptional. The engineering highlights Pires’s nuanced touch, allowing the piano’s tonal colors to shine through with clarity. The balance between the instrument and the acoustic is well-maintained, ensuring that even the most delicate passages are rendered with fidelity. This attention to detail enhances the listening experience, inviting one to immerse fully in the sonorous landscape Pires creates.
Pires’s interpretations of these Beethoven sonatas stand as a testament to her artistry, offering a refreshing perspective on some of the most beloved works in the piano repertoire. Her ability to blend technical skill with profound musical insight places this recording among the finest of recent years, making it an essential addition to any classical music collection. Maria João Pires does not merely play Beethoven; she inhabits his music, revealing layers of meaning that continue to resonate long after the final note has sounded.
