Beethoven Piano Sonatas opp 90, 101 & 106

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Ludwig van Beethoven (1770-1827)


‘This is a true marriage of daring and conviction. It says much for his readings of Opp 90 and 101 that they are in no way overshadowed by the mighty Hammerklavier’ (Gramophone)

‘Beethoven’s polyphony is finely realised, each chord vying with its successor for beauty of voicing in a flow that is seamless and serene’ (Gramophone)

‘I can't imagine that anyone will want to listen to anything for some time after this colossal Hammerklavier’ (BBC Music Magazine)

‘This is Steven Osborne’s 25th recording for Hyperion and what a marker it is. The Scottish pianist plays with an authority built on intelligent, very human musicianship: his accounts of these three late-period Beethoven sonatas are hugely personal but are never about him’ (The Guardian)

‘I hope this is neither exaggeration nor embarrassment to the pianist, but I hear greatness in the performances’ (The Herald)

‘For his 25th recording on the Hyperion label, Osborne gave us tender, dauntless performances of late-period Beethoven sonatas including a searing account of the Hammerklavier. High-definition élan makes this wildest of Beethoven sonatas sound even wilder. Osborne’s playing is steely and emotional, unguardedly personal but never about him’ (The Herald)

‘Osborne has become too rapt in his realization to allow any mere 'academic' principle to override his uncanny momentum. The scales, trills, and permutations of the theme proceed out of some illumined cauldron, a combination of cornucopia and witches’ brew’ (Audiophile Audition, USA)

‘Attractively paradoxical finesse’ (International Piano)

‘You need two brains and 20 fingers to play this stuff well. Osborne manages it with no sign of strain … superb performances, in rich, immediate sound’ (

‘Osborne ensures that this piano-busting and finger-breaking music remains a model of clarity and dynamism’ (Classical Source)

«Steven Osborne confirme pour son troisième enregistrement beethovénien ses affinités peu banales avec le compositeur allemand» (Diapason, France)

«Osborne s’affirme comme un très grand interprète de ce monument—plus convaincant que Perahia ici en récital. Il prend la sonate à bras-le-corps dans une vision intraitable anticipant les derniers Quatuors» (Le Devoir)

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Piano sonata in B flat major ‘Hammerklavier’ op.106
Scherzo: Assai vivace - Presto
Adagio sostenuto, appassionato e con molto sentimento
Largo - Allegro - Allegro risoluto

Piano sonata in A major op.101
Allegretto ma non troppo
Vivace alla marcia
Adagio, ma non troppo, con affetto

Piano sonata in E nimor op.90
Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Nicht zu geschwind un d sehr singbar vorgetragen