The cycle of Beethoven sonata recordings by the Japanese-born, European-raised pianist Mari Kodama has inspired plenty of divergent reactions, and this ultimate release in the set seems likely to continue the pattern. Kodama was a student of Alfred Brendel, and she extends his fundamentally analytic approach in ways that can be extremely startling when applied to a work like the Piano Sonata No. 29 in B flat major, Op. 106 ("Hammerklavier"). Consider her cool approach to the generally violent opening movement, where she ...
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The cycle of Beethoven sonata recordings by the Japanese-born, European-raised pianist Mari Kodama has inspired plenty of divergent reactions, and this ultimate release in the set seems likely to continue the pattern. Kodama was a student of Alfred Brendel, and she extends his fundamentally analytic approach in ways that can be extremely startling when applied to a work like the Piano Sonata No. 29 in B flat major, Op. 106 ("Hammerklavier"). Consider her cool approach to the generally violent opening movement, where she steers away from piano-shaking gestures in favor of clearly laying out the drastically innovative half-step and third relationships that underlie the entire sonata. There is no question of a "feminine" approach; Kodama can deliver violent power where she deems it necessary, as in the beginning of the second movement of the Piano Sonata No. 28 in A major, Op. 101. There she achieves a sharp demarcation between the meditatively melodic first movement and the more public march that...
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