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Pianist Angela Hewitt shares her knowledge of Beethoven’s opus 2 trilogy of piano sonatas with Donald Macleod.

As part of Composer of the Week's year-long focus on Beethoven, this week the world-renowned pianist Angela Hewitt chooses five contrasting aspects of the piano sonatas to discuss with Donald Macleod. In 2020, Hewitt reaches the end of her survey of Beethoven’s piano works with the last recording in her acclaimed series of his 32 piano sonatas. Begun in 2005, her Beethoven odyssey has been taken at a deliberately measured pace, to give ample space and time to reflect on each sonata, each recording being a testament to her deep understanding of Beethoven. Well known for her award-winning interpretation of Bach’s music, she brings that special insight to Beethoven’s profound admiration for the composer, after which she explores the humour Beethoven injects into his music, the composer’s ability to write cantabile or singing style and how Beethoven responded to the advancement of the piano.

Angela Hewitt and Donald Macleod begin today with a look at the piano sonatas a young Beethoven wrote, freshly arrived in Vienna, starting with his opus 2 trilogy.

Piano Sonata No 1 in F minor, Op 2 No 1
I: Allegro
Angela Hewitt, piano

Piano Sonata No 2 in A major, Op 2 No 2
IV: Rondo: Grazioso
Angela Hewitt, piano

Piano Sonata No 3 in C major, Op 2 No 3 (1795)
II: Adagio
Artur Schnabel, piano

Piano Sonata No 3 in C major, Op 2 No 3
IV: Allegro assai
Angela Hewitt, piano

Piano Sonata No 7 in D major, Op 10 No 3
II: Largo e mesto
Angela Hewitt, piano

Produced by Johannah Smith for ´óÏó´«Ã½ Wales