Édouard Herriot's definition that in Beethoven "everything comes from within" and that "not the rules of the school but the law of life serves as a guide" applies in particular to the last sonatas: they represent a kind of diary (Romain Rolland saw Opus 101 as a "day of the composer's inner life") and are the subject of experimentation, as the variations of Opus 109, for example, show, which ultimately lead to the mystical serenity of the last sonata, Opus 111. Interpreting these sonatas is a feat of strength, like climbing Everest, which requires the imagination of a pianist like Nikolai Lugansky. With his recording of Beethoven sonatas no. 14, 17 and 23, Nikolai Lugansky takes a journey through time and tackles three milestones in the composer's stylistic development: the "Moonlight Sonata", the "Tempest Sonata" and the "Appassionata". As the heir to Viennese Classicism, the Bonn master gradually broke its rules in order to give free rein to emotional exuberance and Romantic style. With these three works, he laid the foundations for a free, humanistic art.
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