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Beethoven: Piano Sonatas No 8, 14 & 23 / Freddy Kempf
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
A generation of strict musicologists, literalist critics, and unimaginative performers will be offended by Freddy Kempfâs traversal of Beethovenâs three most approachable ânameâ sonatas, because the young Englishman is by no means strict, literal, or unimaginative. He seems to be goading us with the very first chord of the âPathĂ©tique,â sustaining only the left-hand notes, creating an unexpectedly blunt strike against the keyboard (an effect he reproduces every time that passage repeats). The introductory material is full of hesitations and rubato that call to mind C. P. E. Bach, and the main theme takes off like the proverbial bat out of hell. Never does Kempfâs handling of the music seem arbitrary, but it is surprising enough to keep jaded listeners alert.
Thereâs tenderness and repose here, too, notably in the second movement of the âPathĂ©tique,â although this movement also has its odd dull moments. The over-famous first movement of the âMoonlightâ sonata is full of unexpected detail, although it is neither sentimentalized nor excessively dramatized. The final movement is fleet and assertive, with immaculate passagework, all the while Kempf proving that itâs not necessary to hammer the klavier. The âAppassionataâ has fewer surprises, yet itâs keenly organized (listen to his absolutely right transition into the final presto pages), and fiery in the outer movements. In DSD surround mode, the recorded sound is close in a reverberant space, perhaps a bit harder in forte passages than is ideal; itâs more generalized and quite solid in two-channel CD playback.
Kempfâs Beethoven, while by no means outlandish (certainly not by the standards of a century ago), will not please listeners who frown on any little departure from the printed score. But itâs full of panache that never misrepresents Beethoven, and itâs that rarest of things, a new standard-rep recording individual enough to justify being released into a crowded market.
James Reel, FANFARE
A generation of strict musicologists, literalist critics, and unimaginative performers will be offended by Freddy Kempfâs traversal of Beethovenâs three most approachable ânameâ sonatas, because the young Englishman is by no means strict, literal, or unimaginative. He seems to be goading us with the very first chord of the âPathĂ©tique,â sustaining only the left-hand notes, creating an unexpectedly blunt strike against the keyboard (an effect he reproduces every time that passage repeats). The introductory material is full of hesitations and rubato that call to mind C. P. E. Bach, and the main theme takes off like the proverbial bat out of hell. Never does Kempfâs handling of the music seem arbitrary, but it is surprising enough to keep jaded listeners alert.
Thereâs tenderness and repose here, too, notably in the second movement of the âPathĂ©tique,â although this movement also has its odd dull moments. The over-famous first movement of the âMoonlightâ sonata is full of unexpected detail, although it is neither sentimentalized nor excessively dramatized. The final movement is fleet and assertive, with immaculate passagework, all the while Kempf proving that itâs not necessary to hammer the klavier. The âAppassionataâ has fewer surprises, yet itâs keenly organized (listen to his absolutely right transition into the final presto pages), and fiery in the outer movements. In DSD surround mode, the recorded sound is close in a reverberant space, perhaps a bit harder in forte passages than is ideal; itâs more generalized and quite solid in two-channel CD playback.
Kempfâs Beethoven, while by no means outlandish (certainly not by the standards of a century ago), will not please listeners who frown on any little departure from the printed score. But itâs full of panache that never misrepresents Beethoven, and itâs that rarest of things, a new standard-rep recording individual enough to justify being released into a crowded market.
James Reel, FANFARE
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
A generation of strict musicologists, literalist critics, and unimaginative performers will be offended by Freddy Kempfâs traversal of Beethovenâs three most approachable ânameâ sonatas, because the young Englishman is by no means strict, literal, or unimaginative. He seems to be goading us with the very first chord of the âPathĂ©tique,â sustaining only the left-hand notes, creating an unexpectedly blunt strike against the keyboard (an effect he reproduces every time that passage repeats). The introductory material is full of hesitations and rubato that call to mind C. P. E. Bach, and the main theme takes off like the proverbial bat out of hell. Never does Kempfâs handling of the music seem arbitrary, but it is surprising enough to keep jaded listeners alert.
Thereâs tenderness and repose here, too, notably in the second movement of the âPathĂ©tique,â although this movement also has its odd dull moments. The over-famous first movement of the âMoonlightâ sonata is full of unexpected detail, although it is neither sentimentalized nor excessively dramatized. The final movement is fleet and assertive, with immaculate passagework, all the while Kempf proving that itâs not necessary to hammer the klavier. The âAppassionataâ has fewer surprises, yet itâs keenly organized (listen to his absolutely right transition into the final presto pages), and fiery in the outer movements. In DSD surround mode, the recorded sound is close in a reverberant space, perhaps a bit harder in forte passages than is ideal; itâs more generalized and quite solid in two-channel CD playback.
Kempfâs Beethoven, while by no means outlandish (certainly not by the standards of a century ago), will not please listeners who frown on any little departure from the printed score. But itâs full of panache that never misrepresents Beethoven, and itâs that rarest of things, a new standard-rep recording individual enough to justify being released into a crowded market.
James Reel, FANFARE
A generation of strict musicologists, literalist critics, and unimaginative performers will be offended by Freddy Kempfâs traversal of Beethovenâs three most approachable ânameâ sonatas, because the young Englishman is by no means strict, literal, or unimaginative. He seems to be goading us with the very first chord of the âPathĂ©tique,â sustaining only the left-hand notes, creating an unexpectedly blunt strike against the keyboard (an effect he reproduces every time that passage repeats). The introductory material is full of hesitations and rubato that call to mind C. P. E. Bach, and the main theme takes off like the proverbial bat out of hell. Never does Kempfâs handling of the music seem arbitrary, but it is surprising enough to keep jaded listeners alert.
Thereâs tenderness and repose here, too, notably in the second movement of the âPathĂ©tique,â although this movement also has its odd dull moments. The over-famous first movement of the âMoonlightâ sonata is full of unexpected detail, although it is neither sentimentalized nor excessively dramatized. The final movement is fleet and assertive, with immaculate passagework, all the while Kempf proving that itâs not necessary to hammer the klavier. The âAppassionataâ has fewer surprises, yet itâs keenly organized (listen to his absolutely right transition into the final presto pages), and fiery in the outer movements. In DSD surround mode, the recorded sound is close in a reverberant space, perhaps a bit harder in forte passages than is ideal; itâs more generalized and quite solid in two-channel CD playback.
Kempfâs Beethoven, while by no means outlandish (certainly not by the standards of a century ago), will not please listeners who frown on any little departure from the printed score. But itâs full of panache that never misrepresents Beethoven, and itâs that rarest of things, a new standard-rep recording individual enough to justify being released into a crowded market.
James Reel, FANFARE
$7.70
Original: $21.99
-65%Beethoven: Piano Sonatas No 8, 14 & 23 / Freddy Kempfâ
$21.99
$7.70Description
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
A generation of strict musicologists, literalist critics, and unimaginative performers will be offended by Freddy Kempfâs traversal of Beethovenâs three most approachable ânameâ sonatas, because the young Englishman is by no means strict, literal, or unimaginative. He seems to be goading us with the very first chord of the âPathĂ©tique,â sustaining only the left-hand notes, creating an unexpectedly blunt strike against the keyboard (an effect he reproduces every time that passage repeats). The introductory material is full of hesitations and rubato that call to mind C. P. E. Bach, and the main theme takes off like the proverbial bat out of hell. Never does Kempfâs handling of the music seem arbitrary, but it is surprising enough to keep jaded listeners alert.
Thereâs tenderness and repose here, too, notably in the second movement of the âPathĂ©tique,â although this movement also has its odd dull moments. The over-famous first movement of the âMoonlightâ sonata is full of unexpected detail, although it is neither sentimentalized nor excessively dramatized. The final movement is fleet and assertive, with immaculate passagework, all the while Kempf proving that itâs not necessary to hammer the klavier. The âAppassionataâ has fewer surprises, yet itâs keenly organized (listen to his absolutely right transition into the final presto pages), and fiery in the outer movements. In DSD surround mode, the recorded sound is close in a reverberant space, perhaps a bit harder in forte passages than is ideal; itâs more generalized and quite solid in two-channel CD playback.
Kempfâs Beethoven, while by no means outlandish (certainly not by the standards of a century ago), will not please listeners who frown on any little departure from the printed score. But itâs full of panache that never misrepresents Beethoven, and itâs that rarest of things, a new standard-rep recording individual enough to justify being released into a crowded market.
James Reel, FANFARE
A generation of strict musicologists, literalist critics, and unimaginative performers will be offended by Freddy Kempfâs traversal of Beethovenâs three most approachable ânameâ sonatas, because the young Englishman is by no means strict, literal, or unimaginative. He seems to be goading us with the very first chord of the âPathĂ©tique,â sustaining only the left-hand notes, creating an unexpectedly blunt strike against the keyboard (an effect he reproduces every time that passage repeats). The introductory material is full of hesitations and rubato that call to mind C. P. E. Bach, and the main theme takes off like the proverbial bat out of hell. Never does Kempfâs handling of the music seem arbitrary, but it is surprising enough to keep jaded listeners alert.
Thereâs tenderness and repose here, too, notably in the second movement of the âPathĂ©tique,â although this movement also has its odd dull moments. The over-famous first movement of the âMoonlightâ sonata is full of unexpected detail, although it is neither sentimentalized nor excessively dramatized. The final movement is fleet and assertive, with immaculate passagework, all the while Kempf proving that itâs not necessary to hammer the klavier. The âAppassionataâ has fewer surprises, yet itâs keenly organized (listen to his absolutely right transition into the final presto pages), and fiery in the outer movements. In DSD surround mode, the recorded sound is close in a reverberant space, perhaps a bit harder in forte passages than is ideal; itâs more generalized and quite solid in two-channel CD playback.
Kempfâs Beethoven, while by no means outlandish (certainly not by the standards of a century ago), will not please listeners who frown on any little departure from the printed score. But itâs full of panache that never misrepresents Beethoven, and itâs that rarest of things, a new standard-rep recording individual enough to justify being released into a crowded market.
James Reel, FANFARE
