11 Songs, 1 Hour 2 Minutes

EDITORS’ NOTES

Beethoven’s two final piano sonatas are extraordinary, their quick-shifting emotions, thrilling narratives, and eccentric figuration puzzling and inspiring listeners in equal measure. Yevgeny Sudbin’s versatile yet steadfast pianism suits the demands of these masterpieces, from the calm waters of No. 31’s opening movement to its stormy second, his fortes brutal, uncompromising. No. 32, a staggering work of unfathomable depth with angular opening salvo and startling theme and variations, is the perfect vehicle for the Russian pianist, from his geniality in the jazzy, syncopated third variation to subtle shadings in Beethoven’s luminescent final phrases. The 6 Bagatelles are masterful miniatures, each packed with endless color—and performed here with stunning poise.

EDITORS’ NOTES

Beethoven’s two final piano sonatas are extraordinary, their quick-shifting emotions, thrilling narratives, and eccentric figuration puzzling and inspiring listeners in equal measure. Yevgeny Sudbin’s versatile yet steadfast pianism suits the demands of these masterpieces, from the calm waters of No. 31’s opening movement to its stormy second, his fortes brutal, uncompromising. No. 32, a staggering work of unfathomable depth with angular opening salvo and startling theme and variations, is the perfect vehicle for the Russian pianist, from his geniality in the jazzy, syncopated third variation to subtle shadings in Beethoven’s luminescent final phrases. The 6 Bagatelles are masterful miniatures, each packed with endless color—and performed here with stunning poise.

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