1801 saw Beethoven’s development of the piano sonata take a dramatic turn, testing the sonata’s limits with a set of slow variations in lieu of a sonata allegro in op26, a multi-movement work played without pause in op27/1, and the remarkable opening movement of the ‘Moonlight’ op27/2. Operatic recitatives are incorporated into the ‘Tempest’ op31/2. These features are without precedent.



Volume 3 of Jonathan Biss’s acclaimed cycle of the sonatas contains two works from this year of experiment and innovation, though the innovations are less brazen - op28 ‘Pastorale’ and the somewhat overlooked op31/1. The third sonata on this disc is one of the most famous of the 32 – The ‘Waldstein’ composed in 1803, is a work of life affirming spirit and energy.



? 'There's a wonderfully unforced quality to Biss's playing....the way in which he eases into the opening movement of the A flat Funeral March Sonata op26, or perfectly weights the climaxes in Op81a, Les Adieux, are marks of an outstanding pianist; for those who stay the course, this could be a Beethoven cycle to treasure' Guardian Vol.1



? ‘I would like to be around when he gets to the end of his pilgrimage, for this is a marvellously promising beginning by one of the most thoughtful and technically accomplished pianists of the younger generation' BBC Music Magazine Vol.1



? ‘ (this) extremely desirable disc…so infectious is Biss’s love for these works, so envious his technique, that however many versions of them you have, you need to add this one’ BBC Music Magazine Vol. 2



? Jonathan Biss’s illustrated talks on Discovering Beethoven’s Sonatas for the Curtis Institute of Music Coursera programme had 32000 people sign up for the weekly talks!