Beethoven: Piano Sonatas Nos. 7, 23 & 28 Jean-Nicolas Diatkine

• Ludwig van Beethoven (1770 - 1827): Piano Sonata No. 7 in D Major, Op. 10 No. 3:
• 1Beethoven: Piano Sonata No. 7 in D Major, Op. 10 No. 3: I. Presto07:35
• 2Beethoven: Piano Sonata No. 7 in D Major, Op. 10 No. 3: II. Largo e mesto08:44
• 3Beethoven: Piano Sonata No. 7 in D Major, Op. 10 No. 3: III. Menuetto. Allegro02:48
• 4Beethoven: Piano Sonata No. 7 in D Major, Op. 10 No. 3: IV. Rondo. Allegro04:34
• Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata":
• 5Beethoven: Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata": I. Allegro assai11:07
• 6Beethoven: Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata": II. Andante con moto06:20
• 7Beethoven: Piano Sonata No. 23 in F Minor, Op. 57 "Appassionata": III. Allegro ma non troppo08:41
• Piano Sonata No. 28 in A Major, Op. 101:
• 8Beethoven: Piano Sonata No. 28 in A Major, Op. 101: I. Etwas lebhaft, und mit der inngsten Empfindung. Allegretto, ma non troppo03:41
• 9Beethoven: Piano Sonata No. 28 in A Major, Op. 101: II. Lebhaft. Marschmäßig. Vivace alla marcia06:12
• 10Beethoven: Piano Sonata No. 28 in A Major, Op. 101: III. Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto02:23
• 11Beethoven: Piano Sonata No. 28 in A Major, Op. 101: IV. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro08:10
• Total Runtime01:10:15

Info for Beethoven: Piano Sonatas Nos. 7, 23 & 28

Jean-Nicolas Diatkine stammt aus einer Familie anerkannter Ärzte und betrachtet das Engagement für Andere als Grundlage seines Berufs. Es schien ihm unmöglich, auf diese Grundhaltung bei seiner Berufsausübung zu verzichten, weshalb er seine künstlerische Entwicklung stets als eine Rückkehr zu den wesentlichen künstlerischen Werten versteht, denen er sich in den letzten dreißig Jahren verschrieben hat.

Gleichzeitig macht er das eingehende Studium und tiefere Verstehen des Narrativs der jeweiligen Komponisten zu einer absoluten Priorität und zu einem unverzichtbaren Schritt vor jeder öffentlichen Aufführung eines Werkes.

Diatkine über Beethoven: Die Notwendigkeit für einen Künstler, die von ihm gespielten Werke verbal zu erläutern, könnte wie eine Versagenserklärung wirken, so als ob die Darbietung der Musik an sich nicht genüge, um das Stück verständlich zu machen.

Goethes Verärgerung über Schuberts Vertonung seiner Gedichte entsprang derselben Kategorie, nur im umgekehrten Sinne: Goethes Ansicht nach war Musik in den Gedichten bereits enthalten. Ebenso schuf Beethoven eine so weite Klangwelt, so durchorganisiert, dass er – so wie im übrigen Bach – jeder Form der literarischen Ausdeutung widerstand, wissend, dass es dazu keinerlei Notwendigkeit gab – das Paradoxon des folgenden Textes.

Jean-Nicolas Diatkine comes from a family of recognised doctors and considers commitment to others to be the basis of his profession. It seemed impossible for him to do without this basic attitude in the exercise of his profession, which is why he always sees his artistic development as a return to the essential artistic values to which he has devoted himself over the last thirty years. At the same time, he makes the in-depth study and deeper understanding of the narrative of each composer an absolute priority and an indispensable step before any public performance of a work.

Diatkine about Beethoven: Musician-performers might regard the need to introduce and explain the pieces they are about to play as an implicit admission of failure, acknowledging the fact that music might no longer speak for itself. Goethe’s irritated reaction to Schubert’s settings of his poems was of the same order, although in reverse perspective: according to him, music was already included in his poetry. And Beethoven (like Bach) created such a vast, structured world that it defies any attempt at literary explanation for it does not need any. The following presentation illustrates this paradox.

Jean-Nicolas Diatkine, piano

Jean-Nicolas Diatkine
comes from a family of recognised doctors and considers commitment to others to be the basis of his profession. It seemed impossible for him to do without this basic attitude in the exercise of his profession, which is why he always sees his artistic development as a return to the essential artistic values to which he has devoted himself over the last thirty years.

At the same time, he makes the in-depth study and deeper understanding of the narrative of each composer an absolute priority and an indispensable step before any public performance of a work.

Jean-Nicolas Diatkine began his music studies at the age of six. As he grew up, two encounters became formative for him: with Ruth Nye, in 1989, professor at the Yehudi Menuhin School and the Royal College of Music, trained by Claudio Arrau; and with Narcis Bonet, in 1994, composer and student of Nadia Boulanger.

Chopin advised his students to listen to the singers; Jean-Nicolas Diatkine takes him at his word and works as a coach at Eva Barthélémy‘s singing school in Paris between 1996 and 2006. In 2000, the mezzo-soprano Alicia Nafé and the tenorZeger Vandersteene became aware of him, the latter accompanying him in numerous concerts in France, Belgium and Spain.

Since 1999, he has regularly performed as a soloist in France and Belgium, notablyin the „Autour du Piano“ concert cycle, at the „Pianissime“ piano festival, at the Opéra Bastille and in Ghent,where the public has described him as „the most outstanding pianistic revelation in ten years“. Since 2011 he has also been performing everyyear at the Salle Gaveau in Paris.

In May 2017 Diatkine will go on his first tour of Japan (Tokyo, Yamanashi).

In his concerts,Jean-Nicolas Diatkine explores a wide range of piano works such as Händel‘s Suites, Shostakovich‘s Preludes, Beethoven‘s „Appassionata“ and Opus 101, Schubert‘s last sonata (D 960), Schumann‘s symphonic etudes or Chopin‘s four ballads. His repertoire also includesrarely performed works byFranzLiszt,such asthe „Réminiscences de Boccanegra“, or Ravel‘s „Gaspard de la Nuit“, which earned him great recognition in Belgium („A symbiosis of lyricism and architecture“, according to the critic Wilfried van Landeghem). His interpretation of Rameau and Debussycould not be surpassed: „A rediscovery of Rameau by Debussy: the imaginaryjourney of a composer in search of his original roots by an immense pianist who remains unjustly unknown to the public“. (Thierry Hilleriteau, Le Figaro)

Booklet for Beethoven: Piano Sonatas Nos. 7, 23 & 28