Join us in congratulating Junior Artist Immersion faculty member Gerardo Teissonnière on the upcoming release of his album!

On March 4, 2022, Steinway & Sons will release The Last Sonatas of Beethoven, Op. 109, 110, and 111, marking pianist Gerardo Teissonnière’s debut on the label. Teissonnière – who began his musical studies in Puerto Rico and now resides in Cleveland where he is on faculty of the Cleveland Institute of Music – began performing all of Beethoven’s works for piano and orchestra in 2019, presenting a series of solo recitals featuring works by and dedicated to the composer’s 250th anniversary in 2020. The album was recorded during the pandemic on a Steinway & Sons Model D, with the GRAMMY® Award-winning team of producer Elaine Martone, editor Erica Brenner, and sound engineer Daniel Shores at the helm. Teissonnière has been praised for “outstanding pianism, rich in dynamic sonorities, poetry and tonal beauty,” by the San Juan Star and for “extraordinary musicianship and rare sensibility” by El Nuevo Día.

Though these final three of Beethoven’s thirty-two piano sonatas were independently published, they are often seen as forming a unified cycle. Beethoven himself said he composed them “in a single breath,” despite their being written over the span of two years, from 1820-22. Beethoven would’ve been almost completely deaf at the time of writing these intimate and transcendental works. Characterized by the composer’s departure from conventional form, variation and fugue both play significant roles in these sonatas, along with completely free and almost improvisatory passages, and bolder, more daring harmonies and textures.

“The last three piano sonatas of Ludwig van Beethoven represent a pinnacle in artistic achievement and the triumph of the human spirit over adversity, and constitute the closing chapter in one of the most important legacies in the solo instrumental literature by any composer,” says Teissonnière. “With this unique triptych, the last sonatas he wrote for any instrument, Beethoven extended the limits of musical and pianistic convention and imagination, introducing new technical and tonal elements to the instrument and changing the traditional boundaries of the classical sonata form for future generations of composers. Together, they comprise one of the most challenging, enjoyable, and rewarding solo recital programs I take great pleasure in sharing with my audiences.”