Imogen Cooper plays Schubert & Beethoven (2026 Remastered Version) Imogen Cooper

• Franz Schubert (1797 - 1828): Piano Sonata in A Major, Op. 143, D. 784:
• 1 Schubert: Piano Sonata in A Major, Op. 143, D. 784: I. Allegro giusto (2026 Remastered Version) 13:46
• 2 Schubert: Piano Sonata in A Major, Op. 143, D. 784: II. Andante (2026 Remastered Version) 04:28
• 3 Schubert: Piano Sonata in A Major, Op. 143, D. 784: III. Allegro vivace (2026 Remastered Version) 05:22
• Ungarische Melodie for Piano in B Minor, D. 817 (2026 Remastered Version):
• 4 Schubert: Ungarische Melodie for Piano in B Minor, D. 817 (2026 Remastered Version) 04:33
• Ludwig van Beethoven (1770 - 1827): Piano Sonata in D Major, Op. 10, No. 3:
• 5 Beethoven: Piano Sonata in D Major, Op. 10, No. 3: I. Presto (2026 Remastered Version) 06:51
• 6 Beethoven: Piano Sonata in D Major, Op. 10, No. 3: II. Large e mesto (2026 Remastered Version) 10:09
• 7 Beethoven: Piano Sonata in D Major, Op. 10, No. 3: III. Allegro - Menuetto & Trio (2026 Remastered Version) 02:46
• 8 Beethoven: Piano Sonata in D Major, Op. 10, No. 3: IV. Rondo (2026 Remastered Version) 03:42
• Total Runtime 51:37

Info zu Imogen Cooper plays Schubert & Beethoven (2026 Remastered Version)

Diese Aufnahme erschien 1977 auf LP, wurde jedoch nie neu aufgelegt. Natürlich hat Imogen heute mehr zu sagen als 1973, als sie gerade einmal vierundzwanzig Jahre alt war. Dennoch zeugt ihr Spiel schon damals von echter Souveränität und Ernsthaftigkeit. Wir veröffentlichen diese Aufnahme in diesem Geiste – in Würdigung der inspirierenden Karriere, die darauf folgte, und mit den besten Wünschen für ihren weiteren Weg, während sie 2026 ihre Abschiedstournee antritt. (Adrian Farmer)

Imogen Cooper, Klavier

Digitally remastered

Imogen Cooper
Pianistically alone, Cooper commands a dynamic and colouristic range beyond the reach of most pianists. She understands that musical, like verbal, speech acquires the eloquence and continuity through the close, asymmetrical juxtaposition of extreme but varied contrasts – as in any polysyllabic word. Nowhere is this truer than in Schumann, whose own juxtaposition of emotional-psychological extremes requires a maximum of characterisation with a minimum of evidence – the art that conceals art. Cooper’s gifts in this department are unmistakable even before she reaches the end of the first, brief piece in the Davidsbündlertänze. And as she begins, so she continues. Every piece in this recital is a study in portraiture worthy of Schumann's beloved ETA Hoffman. Variety and organic momentum (structure, in short, in a sea of diversity) go hand in hand.

Regarded as one of the finest interpreters of Classical and Romantic repertoire, Imogen Cooper is internationally renowned for her virtuosity and lyricism. Recent and future concerto performances include the Berliner Philharmoniker and Sir Simon Rattle, Sydney Symphony with Simone Young and the BBC Scottish Symphony Orchestra with Thomas Dausgaard. This season she will perform lieder recitals with Mark Padmore, including at the Concertgebouw in Amsterdam and a series of solo recitals at the Wigmore Hall in London, focussing on Haydn and Beethoven.


Imogen has a widespread international career and has appeared with the New York Philharmonic, Philadelphia, Boston, Cleveland, Vienna Philharmonic, Royal Concertgebouw, Leipzig Gewandhaus, Budapest Festival, NHK and London Symphony Orchestras. She has also undertaken tours with the Camerata Salzburg, Australian and Orpheus Chamber Orchestras. She has played at the BBC Proms and with all the major British orchestras, including particularly close relationships with the Royal Northern Sinfonia and Britten Sinfonia, play/directing. Her recital appearances have included Tokyo, Hong Kong, New York, Singapore, Paris, Vienna, Prague and the Schubertiade in Schwarzenberg. 


As a supporter of new music, Imogen has premiered two works at the Cheltenham International Festival; Traced Overhead by Thomas Adès (1996) and Decorated Skin by Deirdre Gribbin (2003). In 1996, she also collaborated with members of the Berliner Philharmoniker in the premiere of the quintet, Voices for Angels, written by the ensemble’s viola player, Brett Dean.

Imogen is a committed chamber musician and performs regularly with Henning Kraggerud and Adrian Brendel. As a Lieder recitalist, she has had a long collaboration with Wolfgang Holzmair in both the concert hall and recording studio. Her discography also includes Mozart Concertos with the Royal Northern Sinfonia (Avie), a solo recital at the Wigmore Hall (Wigmore Live) and a cycle of solo works by Schubert recorded live and released under the label ‘Schubert Live’. Her recent recordings for Chandos Records feature music by Brahms, Chopin, Liszt, Wagner and Robert and Clara Schumann.


Imogen received a CBE in the Queen’s New Year Honours in 2007 and was the recipient of an award from the Royal Philharmonic Society the following year. In 1997 she was awarded Honorary Membership of the Royal Academy of Music and in 1999 she was made a Doctor of Music at Exeter University. Imogen was the Humanitas Visiting Professor in Classical Music and Music Education at the University of Oxford for 2012-13. The Imogen Cooper Music Trust was founded in 2015, to support young pianists at the cusp of their careers, and give them time in an environment of peace and beauty.

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