|
1 CD
✓ in stock |
€ 19.95
|
Buy |
| Label Evil Penguin |
UPC 0608917721324 |
Catalogue number EPRC 0025 |
Release date 06 October 2017 |
"It felt like a multi-sensory laboratory."
Pianist, 11-5-2018Inside the Hearing Machine: Beethoven on His Broadwood
Piano Sonatas Opus 109, 110, and 111
Tom Beghin, piano
Can we get into Beethoven’s creative mind, especially in the last phase of his life when he was coping with severe hearing loss? Tom Beghin’s new recording of Beethoven’s Piano Sonatas Opus 109, 110, and 111 is an artistic exploration of how Beethoven’s musicking was shaped by the work environment he created with the help of colleagues and friends.
Not only does pianist Tom Beghin perform Beethoven’s trilogy of pianistic masterpieces on a magnificent new replica of Beethoven’s Broadwood piano, he uses a reconstruction of the Gehörmaschine that was mounted on the composer’s piano so he could continue to create music as his hearing declined.
“You do hear better when you bring your head under this machine, don’t you?,” André Stein asked Beethoven. Two centuries later, we too can bring our heads under the machine and wonder: Do we hear Beethoven differently? Beghin draws us inside the hearing machine, where we feel as well as hear the essence of Beethoven’s rambunctious and irresistibly poetic musical vibrations. Inside the Hearing Machine invites us into the multisensory playground of a deaf composer for whom the machine was more than a hearing aid and who interacted with his instrument through much more than sound.
Können wir uns in Beethovens kreativen Verstand hineinversetzen, besonders in der letzten Phase seines Lebens, als er mit einem schweren Hörverlust zurechtkommen musste? Tom Beghins neue Einspielung von Beethovens Klaviersonaten Opus 109, 110 und 111 ist eine künstlerische Auseinandersetzung mit Beethovens Musizieren in einer Arbeitsumgebung, die er mit Hilfe von Kollegen und Freunden geschaffen hat.
Der Pianist Tom Beghin führt Beethovens Trilogie pianistischer Meisterwerke auf einer neuen, großartigen Replik von Beethovens Broadwood-Klavier auf und er verwendet eine Rekonstruktion der Gehörmaschine, die auf das Klavier des Komponisten montiert wurde, damit Beethoven weiterhin Musik machen konnte, als sein Gehör nachließ.
„Man hört wirklich besser, wenn man seinen Kopf unter diese Maschine steckt, nicht wahr?“, fragte André Stein Beethoven mit Bezug auf die Gehörmaschine, die er auf Beethovens Broadwood-Klavier anbrachte. Zwei Jahrhunderte später können auch wir den Kopf unter eine Maschine stecken und uns fragen: „Hören wir Beethoven unterschiedlich?“ Diese Aufnahme lädt uns ins Innere der Gehörmaschine ein - dem multisensorischen Spielplatz des tauben Komponisten, für den die Maschine viel mehr als nur eine Hörhilfe war.
The Belgian-Canadian pianist Tom Beghin combines a career as a performer with that of a researcher and teacher. His expertise concerns historically informed performance on eighteenth- and nineteenth-century keyboards. His published work spans various media, from commercially released CDs to academic essays and books.
Most recently, he has studied the significance of Beethoven’s 1803 Erard piano. Beethoven’s other “foreign” piano, a replica of his 1817 Broadwood, was featured on Inside the Hearing Machine, a multimedia project that aims to understand the connection of the composer’s deafness with his late piano music. His mon- ograph The Virtual Haydn: Paradox of a Twenty-First-Century Keyboardist (University of Chicago Press, 2015) followed his monumental recording of the complete solo Haydn keyboard works (Naxos 2009/2011). With classicist Sander Goldberg he co-edited Haydn and the Performance of Rhetoric, winner of the 2009 American Musicological Society Ruth A. Solie Award.
Alumnus of the HIP-doctoral program at Cornell University (where he studied with Malcolm Bilson and James Webster), Prof. Beghin taught at UCLA (1997–2003) and McGill University (2003–18). He was William J. Bouwsma Fellow at the American National Humanities Center (2002–3), has served on the board of directors of the Westfield Center for Historical Keyboard Instruments, is Mitglied of the Haydn Institut (Cologne), and member of CIRMMT (Centre of Interdisciplinary Research in Music Media and Technology, Montreal). He also serves on the Associated Faculty of the Arts of the University of Leuven.
Since 2015, Tom Beghin has been Senior Researcher and Principal Investigator at the Orpheus Institute for Advanced Studies & Research in Music, in Ghent, Belgium. His research cluster, Declassifying the Classics, focuses on the intersections of tech- nology, rhetoric, and performance. The cluster has a partnership with the Early Keyboard Workshop of Pianos Maene (Ruiselede, Belgium).
It felt like a multi-sensory laboratory.
Pianist, 11-5-2018
Tom Beghin plays the sonatas with a lot of energy and attention to detail ...
Luister, 19-1-2018
Beghins sparkling, some earthly performances fit perfectly with this less spiritualized Beethoven.
Klassieke Zaken, 17-11-2017
With the enhanced mechanism of his Broadway Fortepiano and the hearing machine that André Stein mounted on Beethoven’s instrument, Tom Beghin was able to use very special conditions for his recording. He provides a gripping sound in his elaborated performances. And so, this release offers unique illuminations for the three sonatas and guarantees an enriching experience even for those who normally prefer a modern grand piano.
Pizzicato, 11-11-2017
Play album
