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Penguin Guide, January 2009

Hindemith’s crisply contrapuntal piano writing brings a strong consistency to the three contrasted works. No. 1 is the most challengingly ambitious, with the compact No. 2 more easily lyrical. Yet it is No. 3, directly echoing the first of Beethoven’s late sonatas, Opus 101, which is the clearest masterpiece. Built on strikingly memorable themes and ending with a formidable double fugue, it inspires Petermandl to a powerful performance, very well recorded.





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