Volume 1 is a complete cycle of the Beethoven sonatas, which do not traverse the same range of styles or psychological landscapes as the piano sonatas, string quartets, or symphonies. Still, Ibragimova and Tiberghien create their own universe here, such is their joint command of technique, insight and the sheer stylish charm of their playing.
They deliver so many felicitous moments it’s hard to know where to start. I could begin with the wonderful way they capture the contrast in the third variation of the central movement of the Op 12. The first two variations are very much in Mozartian vein but suddenly, there is an abrupt, minor key departure, foreshadowing, even at the outset of his career, Beethoven’s capacity to shock. Similarly, in the adagio of the Op 30, No 2, Tiberghien interrupts the ecstatic musing with sudden, vehement flourishes and does it to perfection. I love the entire ambience of the Op 30, No 3, arguably the most captivating of the lot and its rag-tag allegro vivace finale (which, for unaccountable reasons always reminds me of Aaron Copland’s Hoe down). I’ll be surprised if I’m as taken with any other performances for a long time.