Ingrid Fliter, a pianist of Argentine background, was known mostly as a
Chopin specialist until the 2011 release of this group of
Beethoven sonatas. Crossing the divide between "early" and "middle"
Beethoven, the selection reflects that background; all three are clearly proto-Romantic
Beethoven, with subjective, episodic structures.
Fliter's playing points up the connection to
Chopin strongly; it is chamber-sized and reflective. It's not that
Fliter lacks power; the finale of the Piano Sonata No. 23 in F minor, Op. 57 ("Appassionata"), explodes in perorations of resounding left-hand chords. But she deploys the power sparingly. The most original interpretation of the three comes in the Piano Sonata No. 17 in D minor, Op. 31/2 ("Tempest"), the most proto-Romantic of all the early sonatas. Hear how
Fliter, simply by being quiet and careful with her phrasing in the first movment, gives its alternations of soft and loud a weird, unearthly quality. The "Appassionata" is also very strong, with a dramatic yet inward quality, but the Piano Sonata No. 8 in C minor, Op. 13 ("Pathétique"), breaks new ground only in its very poetic slow movement. It is unknown whether
Fliter has studied the
Beethoven work of historical-instrument specialists such as
Paul Komen, but her emphasis on modest dimensions and on contrast and phrasing over drama and power suggest that she is drawing on similar ways of thinking to theirs. A very promising
Beethoven debut.