Ludwig van Beethoven
Works: Piano Sonatas No. 13 in E-flat Major, Op. 27, No. 1; No. 14 in C-sharp Minor, Op. 27, No. 2, “Moonlight;” No. 30 in E Major, Op. 109
Performer: Maria João Pires, piano
Recording: Recorded at Granja de Belgais, Portugal, June 2000 and May 2001 [DDD]
Label: DG
The piano sonatas of Ludwig van Beethoven, particularly those from his middle and late periods, represent a profound exploration of human emotion and an innovative departure from classical conventions. Among them, the sonatas Op. 27, No. 1 and No. 2—commonly known as the “Moonlight” Sonata—alongside the late sonata Op. 109, encapsulate a transformative journey through lyrical beauty, dramatic contrasts, and introspective depth. Maria João Pires presents these works with an artistry that not only respects Beethoven’s intentions but also illuminates them through her distinctive interpretive lens.
Pires’s interpretation of the Op. 27 sonatas reveals her deep understanding of their emotional fabric. The E-flat major sonata (Op. 27, No. 1) is often overshadowed by its sibling, but Pires brings to life its rich subtleties. The opening Adagio con espressione is tender and reflective, characterized by a poetic fluidity that balances nuance with clarity. The ensuing Allegro molto e vivace bursts forth with a vitality that is both infectious and tightly controlled. Pires’s fingerwork is remarkable, ensuring the intricate passages maintain clarity without sacrificing expressiveness. In this sonata, she navigates the contrasts with a deftness that recalls the approach of Alfred Brendel, yet retains an individuality that makes her interpretation distinctly compelling.
The “Moonlight” Sonata, particularly its first movement, is a piece that has been extensively interpreted, yet Pires manages to evoke a sense of fresh discovery. Her reading is marked by a serene introspection that transcends the typical romanticized portrayals of the work. The floating melodic lines are imbued with a spellbinding stillness, allowing the listener to feel the weight of Beethoven’s emotional landscape. Here, Pires’s artistry shines brightest, as she captivates with an ethereal touch that emphasizes the movement’s melancholic character. The final movement, while not as explosively virtuosic as some interpretations (for instance, Pollini’s electrifying renditions), finds its strength in its lyrical expansiveness. Pires artfully balances the dynamism of the thematic material with the more tranquil passages, creating a sense of space that invites reflection.
The inclusion of Sonata No. 30 in E Major, Op. 109, introduces a late-period mastery that is often regarded as one of Beethoven’s most profound statements for the piano. Pires approaches this sonata with a reverence that highlights both its grandeur and its intricate subtleties. The opening of the second movement, where she deliberately hardens her tone, serves as an emphatic contrast that commands attention, setting the stage for the transcendental journey that follows. The climactic final movement is a triumph of structural clarity; Pires weaves together the thematic threads with a sense of inevitability that resonates deeply. The trill-laden conclusion encapsulates the essence of Beethoven’s late style, where reflection and transcendence converge.
The sound quality of this recording is superb, capturing the nuanced timbral palette of Pires’s playing with remarkable fidelity. The acoustic environment of Granja de Belgais contributes to a rich resonance that enhances the listening experience. While there are moments in Op. 27, No. 1 where the bass occasionally lacks clarity, these are minor distractions in an otherwise beautifully engineered album. The recording allows Pires’s interpretative choices to resonate, presenting a vivid portrait of her artistry.
Pires’s interpretations of these sonatas stand shoulder to shoulder with the finest renditions available, such as those by Pollini or Brendel, yet she carves out a unique space with her emphasis on lyrical expression and emotional depth. This disc serves not only as a showcase of her considerable talents but also as a reminder of the timelessness of Beethoven’s music. Pires’s ability to communicate the essence of these works is a testament to her status as one of the most profound interpreters of our time. This recording is a significant contribution to the recorded legacy of Beethoven’s piano sonatas and deserves a place in the collection of any discerning listener.
