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  BEETHOVEN: Last Five Sonatas
  
  For this album, I have drawn license from
  an aspect of late Beethoven that no one had
  studied until the 1990s—his "displacement
  of the expected order of events." (Maynard
  Solomon, Late Beethoven [Berkeley: University
  of California Press, 2003], p. 213 ff.) In several
  instances, Beethoven "broke-up or authorized
  the deconstruction of already completed works,
  and re-cast them into radically different, even
  seemingly aberrant structures." I explore this
  element of "non-inevitability" in Beethoven's
  later structures by re-configuring sections and
  movements in opp. 106 and 109 ; by attaching
  my arrangement of the Finale of the 7th Symphony
  as a kind of Preamble to op. 101; by allowing the
  slow movement of op. 106 to serve as a full-length
  retreat into the relative minor of op. 101; and also,
  by bridging opp. 106 and 109 with two Album-
  blatter, the first of which actually emanates from
  Beethoven's sketches for op. 106, and the second
  of which provides a perfect bridge between the
  respective tonalities of the two sonatas, i.e.,
  Bb–{Bm}–E (the juxtaposition of Bb and Bm
  being, of course, a recurrent feature in op. 106).
  In opp. 110 and 111, I made some topical changes,
  reversing the indicated order of crescendo and
  diminuendo in the development section of the
  first movement of op. 110, and — like a good
  organist! — re-registering the opening of the
  Arietta in op. 111. ... more
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