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LUDWIG VAN BEETHOVEN
Eleven Bagatelles, Op.119 (compiled 1822)
for Piano
1.
1
Allegretto
2:41
in G minor • in g-Moll • en sol mineur
2.
2
Andante con moto
1:11
in C major • in C-Dur • en ut majeur
3.
3
à l'Allemande - Coda
1:58
in D major • in D-Dur • en la majeur
4.
4
Andante cantabile
1:43
in A major • in A-Dur • en la majeur
5.
5
Risoluto
1:21
in C minor • in c-Moll • en ut mineur
6.
6
Andante - Allegretto - L'istesso tempo
1:56
in G major • in G-Dur • en sol majeur
7.
7
[Allegro, ma non troppo]
1:07
in C major • in C-Dur • en ut majeur
8.
8
Moderato cantabile
1:41
in C major • in C-Dur • en ut majeur
9.
9
Vivace moderato
0:30
in A minor • in a-Moll • en la mineur
10.
10
Allegramente
0:15
in A major • in A-Dur • en la majeur
11.
11
Andante, ma non troppo
1:56
in B flat major • in B-Dur • en si bémol majeur
Thirty-three Variations on a Waltz by Anton Diabelli, Op.120 (1819-23)
58:34
in C major • in C-Dur • en ut majeur
for Piano
Frau Antonia von Brentano gewidmet
12.
Tema. Vivace -
0:54
13.
Variazione I. Alla Marcia maestoso -
1:48
14.
Variazione II. Poco allegro -
0:56
15.
Variazione III. L'istesso tempo -
1:24
16.
Variazione IV. Un poco più vivace -
1:10
17.
Variazione V. Allegro vivace -
0:58
18.
Variazione VI. Allegro ma non troppo e serioso -
2:00
19.
Variazione VII. Un poco più allegro -
1:19
20.
Variazione VIII. Poco vivace -
1:32
21.
Variazione IX. Allegro pesante e risoluto -
1:45
22.
Variazione X. Presto -
0:40
23.
Variazione XI. Allegretto -
1:16
24.
Variazione XII. Un poco più moto -
0:53
25.
Variazione XIII. Vivace -
1:08
26.
Variazione XIV. Grave e maestoso -
5:36
27.
Variazione XV. Presto scherzando -
0:35
28.
Variazione XVI. Allegro -
1:04
29.
Variazione XVII. [L'istesso tempo] -
1:07
30.
Variazione XVIII. Poco moderato -
1:53
31.
Variazione XIX. Presto -
0:58
32.
Variazione XX. Andante -
2:20
33.
Variazione XXI. Allegro con brio - Meno allegro - Tempo I - Meno allegro -
1:24
34.
Variazione XXII. Allegro molto alla 'Notte e giorno faticar' di Mozart -
0:51
35.
Variazione XXIII. Allegro assai -
0:55
36.
Variazione XXIV. Fughetta. Andante -
3:17
37.
Variazione XXV. Allegro -
0:48
38.
Variazione XXVI. [Allegretto] Piacevole -
1:12
39.
Variazione XXVII. Vivace -
1:07
40.
Variazione XXVIII. Allegro -
1:08
41.
Variazione XXIX. Adagio ma non troppo -
1:22
42.
Variazione XXX. Andante, sempre cantabile -
2:10
43.
Variazione XXXI. Largo, molto espressivo
5:05
44.
Variazione XXXII. Fuga. Allegro - Poco adagio -
3:13
45.
Variazione XXXIII. Tempo di Menuetto moderato (ma non tirarsi dietro)
4:27
46.
Bagatelle, WoO 59 'Für Elise' (c.1810)
3:31
in A minor • in a-Moll • en la mineur
Für Elise am 27. April zur Erinnerung an L. v. Bthn.
Poco moto
Total time: 78:32
Notes
Regarded as one of the finest interpreters of classical and romantic repertoire, Imogen Cooper is internationally renowned for her virtuosity and lyricism. This recording is her sixth release on Chandos Records, following earlier discs of works by Liszt, Wagner, Brahms, Chopin, and Robert and Clara Schumann.
Imogen Cooper writes: ‘Beethoven’s Diabelli Variations are rightly considered to be among the greatest works for solo piano ever composed, by Beethoven or anyone else. It is incontrovertible that there is not one superfluous note in this huge masterpiece – each variation is flawless in construction and imagination, and in depth of characterisation. The breadth of ideas is limitless. Each variation tells a whole story, and for all that some are connected in mood, it is no mean feat as a performer to respect the huge scope of Beethoven’s vision.’
Imogen Cooper plays a Steinway Model D, and was recorded in the concert Hall at Snape Maltings, Suffolk.
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Reviews
Recommended
“…She [Cooper] remains the epitome of refinement and good taste; an intelligent, unaffected artist who puts herself squarely at the service of the music. Her recent discs for Chandos have been consistently probing and enjoyable by turn, but I suspect this Beethoven issue is the best yet. Her nuanced account of the Op 120 is among the most compelling I have heard on disc, and the outstanding Chandos sound does both composer and pianist great credit. William Drabkin’s readable and detailed analyses complete a fine issue.”
Richard Hanlon – MusicWeb-International.com – 4 June 2019
“…these are performances that bloom with quietly gracious culture, the intellect behind them searching and deliberated, the timbered, clay-brick Snape acoustic engineered to a nicety (Jonathan Cooper)…” ****
Ates Orga – ClassicalSource.com – 24 April 2019
Instrumental Choice
Performance ***** Recording *****
“Imogen Coopers’ Beethoven is sensitive and full of joy.”
Michael Church - BBC Music magazine - May 2019
“Over many years, Imogen Cooper has proved herself to be an exemplary interpreter of the music of Beethoven, and this disc consolidates her reputation. As the pianist noted: ‘Each variation tells a whole story, and for all that some are connected in mood, it is no mean feat as a performer to respect the huge scope of Beethoven’s vision.”
Barry Forshaw – Classical CD Choice – 28 March 2019
“…I’m grateful to Imogen Cooper for reminding me what treasures they [Op. 119 Bagatelles] have to offer, sometimes at moments towards the ends of pieces when you least expect them. It takes real artistry to apply such subtle variations of expressive pressure from phrase to phrase as Cooper delights in. Every detail here is patiently appreciated and gratefully addressed: neither self-regardingly spelt out nor diminishing pieces to the statues of a mere appetiser… Chandos’s recorded sound has a natural glow without ever compromising clarity…”
David Fanning – Gramophone magazine – April 2019
Album of the Week
“…Cooper’s technical command and musical insights are up there with those of her mentor, Alfred Brendel, or Stephen Kovacevich, and her thoughtful, melancholy delivery of the famous, enigmatic Für Elise is a delectable encore.”
Hugh Canning - The Sunday Times (Culture magazine) - 17 March 2019
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