Among the three sonatas Op. 2 dedicated to composer Joseph Haydn, the No. 3 is considered Beethoven’s first virtuosic sonata. Presenting challenges of immense difficulty, the work requires from the performer both technical mastery and physical strength. Composed in 1795, it is possible to notice the German composer was looking for new paths, innovating in terms of harmonies, articulations and dynamics, as well as exploring new possibilities for the piano, which at that time was undergoing rapid and intense transformations.

On the other hand, the Sonata No. 16, Op. 31 signals an ironic approach that refers to Italian theatre: humor, jokes, quick dialogues and some explosions of fury, reminiscent of scenes from musical comedies. The “Italian style” used in the language of the sonata is indisputable, and it is evident that Beethoven purposely played with this reference without letting his style be influenced by it.

On this album, the performances of pianist Olga Kopylova do justice to the innovative and disruptive character of the sonatas composed by the genius of Bonn, whose work will last for eternity, as one of the most prodigious artistic creations of humanity.