In his series of Perspectives albums, now numbering six and counting, Swiss pianist Andreas Haefliger attempts something beyond the usual obligatory inclusion of contemporary music in a recital of works from the 19th century. Beethoven is the common element in all six of the albums, and the added music is intended, Haefliger says, to place his music, and that of the other composers included, "in tonal, dramatic, and historic relief." The Schumann Fantasy in C major, Op. 17, is a frequent pairing with Beethoven's sonatas and ...
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In his series of Perspectives albums, now numbering six and counting, Swiss pianist Andreas Haefliger attempts something beyond the usual obligatory inclusion of contemporary music in a recital of works from the 19th century. Beethoven is the common element in all six of the albums, and the added music is intended, Haefliger says, to place his music, and that of the other composers included, "in tonal, dramatic, and historic relief." The Schumann Fantasy in C major, Op. 17, is a frequent pairing with Beethoven's sonatas and is certainly a landmark in the Romantic century's attempts to come to terms with his accomplishment; Haefliger's performance of the Schumann has an impressive broad sweep. The novel item here is music by Luciano Berio, and an unusual group of pieces at that: the Erdenklavier, Wasserklavier, Luftklavier, and Feuerklavier (Earth, Water, Air, and Fire Piano, respectively), are short encore works from a larger set composed late in Berio's career, and they do match their Beethovenian...
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