The Georgian-born pianist and composer – and a former Gramophone ‘One to Watch’ and Editor’s Choice recipient – Nicolas Namoradze has signed a recording contract with the Finnish Ondine label. The first fruit of the agreement is an album of solo Beethoven that includes two of the composer’s greatest fugues, the Grosse Fuge (the original last movement of the Op 130 String Quartet) which Namoradze has arranged for piano, and the Hammerklavier Sonata, Op 106, whose finale finds Beethoven writing one of his most dazzling examples of the form. The third work on the album is the earlier F major Piano Sonata, Op 54, which though not a fugue reveals the composer’s mastery of contrapuntal writing. James Jolly spoke to Nicolas Namoradze about the new album and explored Beethoven’s use of the fugue in these great works, and how the pianist, as composer, transformed the Grosse Fuge from music for four string instruments to a towering work for solo pianist.

This episode is sponsored by Concerto Budapest, and earlier this month Concerto Budapest and its Music Director András Keller celebrated the centenary of the legendary Hungarian composer György Kurtág with a special concert live from the Grand Hall of Budapest’s Liszt Academy which you can watch here on Gramophone’s website and also read an interview with András Keller about Concerto Budapest.

The Georgian-born pianist and composer &ndash; and a former Gramophone &lsquo;One to Watch&rsquo; and <a href="https://www.gramophone.co.uk/reviews/bowen-fragments-from-hans-andersen-nicolas-namoradze">Editor&rsquo;s Choice recipient</a> &ndash; Nicolas Namoradze has signed a recording contract with the Finnish Ondine label. The first fruit of the agreement is an album of solo Beethoven that includes two of the composer&rsquo;s greatest fugues, the&nbsp;Grosse Fuge (the original last movement of the Op 130 String Quartet) which Namoradze has arranged for piano, and the Hammerklavier Sonata, Op 106, whose finale finds Beethoven writing one of his most dazzling examples of the form. The third work on the album is the earlier F major Piano Sonata, Op 54, which though not a fugue reveals the composer&rsquo;s mastery of contrapuntal writing. James Jolly spoke to Nicolas Namoradze about the new album and explored Beethoven&rsquo;s use of the fugue in these great works, and how the pianist, as composer, transformed the Grosse Fuge from music for four string instruments to a towering work for solo pianist.
This episode is sponsored by <a href="https://concertobudapest.hu/concerto-budapest-orchestra">Concerto Budapest</a>, and&nbsp;earlier this month Concerto Budapest and its Music Director Andr&aacute;s Keller celebrated the centenary of the legendary Hungarian composer Gy&ouml;rgy Kurt&aacute;g with a special concert live from the Grand Hall of Budapest&rsquo;s Liszt Academy which you can watch here on Gramophone&rsquo;s <a href="https://www.gramophone.co.uk/content/news/watch-live-with-gramophone-concerto-budapest-s-kurtag-100-celebration-concert">website</a> and also read an <a href="https://www.gramophone.co.uk/content/features/concerto-budapest-kurtag-beethoven-and-a-story-of-survival">interview</a> with Andr&aacute;s Keller about Concerto Budapest.

Weekly conversations about classical music with leading musicians and writers

Weekly conversations about classical music with leading musicians and writers