Performances in N.Y.C. Advertisement Supported by critic’s notebook Our chief classical critic took on the daunting Opus 110 in college, and now relishes risky recordings. By Anthony Tommasini For my ...

Like so much of Beethoven’s late music, the last three piano sonatas are dense, complex and without parallel in the history of the keyboard. The challenges may be forbidding but the rewards are huge.

From the early Op. 2 set of sonatas to the famous 'Moonlight', find out why Beethoven's piano sonatas broke the mould - and hear from pianists themselves about how they approach performing them.

Which Claudio Arrau do you like best: The young virtuoso? The elder statesman of the recording studio, whose grave, sometimes ponderous persona obliterated his younger self? Or the mature master who ...

This is a preview. Log in through your library . Journal Information Intégral is a scholarly, peer-reviewed journal refereed by its professional editorial board. Published since 1987, the journal ...

Writing a warm if inevitably parti pris appreciation of Stephen Kovacevich’s nine-CD and 12-year project, producer John Fraser speaks of ‘an artist of almost self-punishing honesty and integrity’.

Space to play or pause, M to mute, left and right arrows to seek, up and down arrows for volume. Slowly spiralling chords in the right hand. Deep, sinking bass in the left. The opening to Beethoven’s ...

No two of Beethoven's 32 piano sonatas are alike. Even more than in his string quartets, which similarly span his creative life, he seemed to make new strides in form and motivic development in each ...