Imogen Cooper - Beethoven: The Last Three Sonatas (2026)

Imogen Cooper approaches these late sonatas with composure and balance. In Op. 109, the variation movement is carefully shaped, never overstated, the voicing clear and disciplined. Op. 110’s fugue is steady and structurally lucid. In Op. 111, the Arietta unfolds with calm introspection rather than transcendental intensity.

What I hear is control — and sometimes too much of it. The late sonatas can feel destabilizing, metaphysical, almost visionary. Here they feel thoughtful, humane, but contained. The final variations of Op. 111 glow, yet they don’t quite suspend time. It’s Beethoven interpreted through maturity and restraint rather than danger or existential urgency.

I respect it. I don’t feel transformed by it.

Pros

1. Structural clarity – Especially in Op. 110’s fugue and Op. 109’s variations, textures remain transparent and balanced.

2. Tasteful restraint – Avoids Romantic excess; phrasing feels considered rather than imposed.

3. Even tonal control – The instrument’s sound stays warm and centered throughout, never harsh.

Cons

1. Low emotional volatility – Op. 111’s Arietta lacks the sense of cosmic risk some interpretations achieve.

2. Conservative pacing – Tempi rarely surprise; dramatic contrasts are moderated.

3. Limited interpretive personality – It feels careful rather than distinctive, especially compared to more radical late-Beethoven readings.

Genre: Classical
Country: UK

Final Verdict: 65% (Good Album)
Yearly Ranking: 55th / 177

Highlight: Piano Sonata No. 31 in A-Flat Major, Op. 110: II. Allegro molto


Made me think of:
Annie Fischer
Hélène Grimaud
Mitsuko Uchida

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