Beethoven's thirty-two piano sonatas occupy an important place in the world repertoire. The number of pianists who have dared to comprehend this cycle in its entirety is growing. Mikhail Lidsky, a musician who immortalized "his" unique Beethoven, was among them. The article discusses interpretive issues related to tempo-rhythmic, articulatory-phrasing and loudness aspects. Thanks to the analysis of these means of expression, the holistic picture of the composer's entire sonata work is restored. M. Lidsky's interpretation is primarily related to the conscious desire to accurately reproduce musical notation, embodying the classical, romantic and Baroque features of the composer's piano music. The pianist pays special attention to the latter: the polyphony of thinking is reflected in the dynamics, phrasing, stroke, interpretation of texture. Among his interpretations, there is a place for both traditional well-established interpretations and new semantic searches. All of them express different facets of Beethoven's nature: philosophical reflection, dramatic intensity (often with internal inconsistency), cheerful ecstasy. This emotional and semantic diversity is revealed through the prism of the performer's subjective, and therefore even more valuable, ideas.
Beethoven's thirty-two piano sonatas, M. V. Lidsky, interpretation, phrasing, articulation, volume dynamics, tempo, agogics
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