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Track(s) taken from CKD250

Piano Sonata No 3 in B minor, Op 58

composer
1844

Artur Pizarro (piano)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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Recording details: June 2004
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs
Release date: February 2006
Total duration: 31 minutes 14 seconds
 
1
Allegro maestoso  [13'49]
2
3
Largo  [9'46]
4

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Reviews

'Winner of the 1990 Leeds piano competition, the versatile Portuguese-American pianist Artur Pizarro made some fine Beethoven recordings for Linn before turning to Chopin with a collection of favourite solo works entitled 'Reminiscences'. Now he brings his energy, passion and refinement to the harmonically complex Barcarolle, and true virtuoso panache to the Variations brillantes. Romantic music comes naturally to Pizarro; his delicate touch and sense of lyrical line in the second and third sonatas are as elegant and assured as these wonderful works demand' (The Observer)

'Yet it is hard not to be swept along by his torrential but sensitively voiced Chopin interpretations. It is like Chopin played by Liszt. There is a wide variety of colour and touch (as well as a huge energy)—the Second Sonata's funeral march exceptionally austere, its opening movement clangorous and impulsive. The B minor sonata (Op 58)—Chopin at the peak of his genius—is done with a driving force that yet allows its melodic inspirations rich scope' (The Sunday Times)

'When Artur Pizarro released his first Chopin CD (Reminiscences) on Linn Records, the clarity of his playing came as a revelation. It shouldn't have, because that particular characteristic of this distinguished pianist was already well-established. Something special, clearly, was going on. And it continues in his latest Chopin collection, which includes the second and third sonatas. Though Pizarro catches all the epic qualities and heroic elements in the second sonata, his playing is entirely free of bluster and rhetoric. It is so clear in its detail it is almost transparent. In the great funeral march there is nothing portentous, just sheer poetry, and the tender lyricism he finds in the middle section will break your heart. By comparison, the third sonata is a dramatic tour de force, with physical power and intellectual command the hallmarks of a very superior performance. A highly collectable disc from an outstanding pianist' (The Herald)

'Listen to Artur Pizarro play the same sonata [No 2]. Here the architectural structure is evident and the musicality never in question. His brilliant rendition of the early Variations brillantes and Barcarolle on his new disc is on par with the greatest Chopin interpreters. The majestic Sonata No 3 can hardly be bettered and with the fine natural recorded sound this could very well be the Chopin release of the year' (Pianist)
The Piano Sonata No 3 in B minor Op 58 was the last of Chopin’s three piano sonatas, written in 1844 during the years of his full maturity as a composer, and in contrast to the ‘Sonata funèbre’ it moves closer to conformity with both the formal and the generic archetypes of what was already becoming recognized as German sonata-symphonic thought. It is as though having come to terms with the four-movement sonata in Op 35, approaching it obliquely by way of the familiar ‘Chopin genres’ of the early 1830s, the composer now felt able to tackle this weighty genre on its own terms. This is apparent in the close-knit motivic argument—the developing variation—of the first movement, and in the measured tread—late Beethoven, late Schubert—of the slow movement. There are some parallels with Op 35, including the sequence of the inner movements where the scherzo precedes the slow movement, and again the inverted reprise of the first movement, but in most respects the two works are poles apart. The outer movements point up the contrast. There could be nothing further from the elliptical, understated finale of Op 35 than the grandiloquent sonata rondo with which Op 58 races, or rather gallops, to its bravura coda. This at least is a more conventional way to end a sonata! As for the first movement, this presents us with a much more closely argued thematicism than its counterpart in Op 35. The principal theme is strong and distinctive, but it is quickly broken down into motivic-contrapuntal working in a process of continuous development and transformation that then characterizes much of the movement. Considerable heads of tension are built up by this process, both in the exposition and in the development, and it is the function of the Nocturne-like second theme—one of Chopin’s happiest inspirations—to resolve them.

from notes by Jim Samson © 2009

La Sonate pour piano no 3 en si mineur op. 58 est la dernière des trois sonates pour piano chopiniennes. Écrite en 1844 par un Chopin au summum de sa maturité compositionnelle, elle se conforme davantage que la «Sonate funèbre» aux archétypes formels et génériques de ce qui était déjà en passe d’être reconnu comme l’idée «sonato-symphonique» allemande. C’est comme si, après s’être colleté à la sonate en quatre mouvements avec l’op. 35, après l’avoir abordée indirectement par le biais des «genres chopiniens» bien connus du début des années 1830, le compositeur se sentait enfin prêt à attaquer cet important genre, tel quel. Ce qui transparaît dans l’argument motivique très uni—la variation de développement—du premier mouvement et dans le pas mesuré—Beethoven tardif, Schubert tardif—du mouvement lent. Il y a certains parallèles avec l’op. 35, notamment la séquence des mouvements internes où le scherzo précède le mouvement lent et, une fois encore, la reprise inversée du premier mouvement, mais, pour l’essentiel, les deux œuvres sont aux antipodes l’une de l’autre, comme le soulignent les mouvements extrêmes. Rien ne saurait être plus éloigné du finale elliptique, discret, de l’op. 35 que le rondo de sonate grandiloquent via leqel l’op. 58 court, ou plutôt galope, jusqu’à sa coda de bravoure. Voilà, au moins, une manière plus conventionnelle de terminer une sonate! Quant au premier mouvement, il nous offre un thématisme bien plus argumenté que celui de l’op. 35. Le thème principal est fort et distinctif mais il est vite décomposé en une écriture motivico-contrapuntique par un développement et un changement continus qui marquent ensuite l’essentiel du mouvement. De considérables sources de tension s’accumulent au cours de ce processus, dans l’exposition et dans le développement, et il revient au second thème, de type nocturne—parmi les plus heureuses inspirations chopiniennes—de les résoudre.

extrait des notes rédigées par Jim Samson © 2009
Français: Hypérion

Die Klaviersonate Nr. 3 in h-Moll op. 58 ist ist dies die letzte der drei Klaviersonaten Chopins, die alle 1844 entstanden, als er als Komponist seine endgültige Reifeperiode erreicht hatte. Anders als die „Sonate funèbre“ ist diese Sonate dem formalen und generischen Archetyp des sich bildenden deutschen Sonaten- und Symphoniekonzepts näher. Es scheint, als ob er nach der viersätzigen Sonate op. 35, in der er sich der Sonatenform verdeckt und über „Chopin Genres“ der frühen 1830er Jahre genähert hatte, sich nun in der Lage fühlte, dieses gewichtige Genre offen anzugehen. Dies wird nicht nur in der eng gearbeiteten Motivik, der sich entwickelnden Variation, des ersten Satzes deutlich, sondern auch im gemessenen Schritt—später Beethoven, später Schubert—des langsamen Satzes. Es gibt einige Parallelen mit op. 35, wie etwa die Reihenfolge der Innensätze, wo das Scherzo dem langsamen Satz vorangeht, und auch die umgekehrte Reprise des ersten Satzes, doch davon abgesehen trennen diese beiden Werke Welten. Die Außensätze zeigen die Kontraste besonders deutlich auf. Nichts könnte sich von dem elliptischen und absichtlich schlicht gehaltenen Finale von op. 35 mehr unterscheiden als das hochtrabende Rondo, mit dem op. 58 auf seine Bravur-Coda zuprescht. Es ist dies jedenfalls eine konventionellere Art und Weise, eine Sonate zu Ende zu bringen. Im ersten Satz finden wir eine deutlich stringentere Thematik vor als im Pendant von op. 35. Das Hauptthema ist kräftig und markant, wird jedoch schnell in ein motivisch-kontrapunktisches Geflecht geleitet, was dann in einen fortwährenden Entwicklungs- und Transformationsprozess übergeht, der den Satz dann weitgehend dominiert. In diesem Prozess bauen sich sowohl in der Exposition als auch in der Durchführung beträchtliche Spannungspunkte auf, und es ist die Aufgabe des nocturneartigen zweiten Themas—einer der schönsten Einfälle Chopins—diese aufzulösen.

aus dem Begleittext von Jim Samson © 2009
Deutsch: Viola Scheffel

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