Ludwig van Beethoven (1770-1827)

[Jo498]

I mean the recordings were done within almost 20 years, with rather different lineups and also for different labels. And of course it is getting more complicated because of incomplete CD issues again on different labels.
By all means, they are significant enough to have them in the survey. As I did not know that there was so much with the Lener Q I thought these Budapest recordings were the first thing close to a cycle.

As for the early Intercord Melos quartet. This was available in the late 1980s on cheap single discs from Intercord and might have appeared in similar guises. I used to have one disc (59/2+3) but this is not very good, neither in sound nor in performance. Not really worth going out of ones way to seek out.

Whereas I find the DG Melos very good and rather underrrated, probably due to poor availability after the original issue (which was my first complete recording bought in 1990, so I am of course a little biased). It might have been somewhat superseded by similarly bold, fast and even more technically accomplished recordings in the 30 years since it came out but it would deserve a box issue. It also has the op.14/1 arrangement and is one of the relatively small number of recordings that take a certain repeat in op.59/2.

[SurprisedByBeauty]

Mightily Superfluous Excellence: Saraste and Beethoven Cycle No. 176


Raise your hand if you really, truly need another, a new set of the nine Beethoven symphonies—the 176th* such cycle?

https://www.classicstoday.com/review/mightily-superfluous-excellence-saraste-and-beethoven-cycle-no-176/

[SurprisedByBeauty]

The Reasonably Splendid And The Ho-Hum in LSO-Beethoven


Latest on ClassicsToday: Big Names in LSO Beethoven (...but what does it all amount to?)

https://www.classicstoday.com/review/the-reasonably-splendid-and-the-ho-hum-in-lso-beethoven/ ...

https://amzn.to/2XVHNWW

[Cato]

A rave review for Steven Osborne's performance of the Op, 109, 110, and 111:

...The 1820 E Major Sonata may be the most elusive gem of the three, given its opening, eight-measure vivace theme whose 16th note figures Osborne performs with liquid grace. Beethoven has assigned two competing time signatures,  and the secondary tune depends upon a diminished seventh, so its surface simplicity, adagio, constantly challenges our security in what feels like an improvisation. Osborne then seizes the E minor Prestissimo by the throat, imparting to its interior tumult – a scherzo sans trio – the Baroque character of its models, Handel and Bach....

...The 1821 A-flat Sonata has some debts to a Bach chorale, but its dense texture, combined with an uncanny, inner serenity, establish its unique place in Beethoven's oeuvre; even more so, since it may be the only piece he completed in 1821, since the Missa Solemnis occupied his thoughts. Lyrical beauty, gently paced, dominates the order of the first movement, and Osborne imparts a plastic sense of arioso pulse that turn his Steinway into something other than a percussion instrument...


...That leaves us the monumental Op. 111 in C minor of 1822... Even with its manic impetus, the music relents briefly for a bucolic moment in A-flat Major. But the overpowering character of the grumbling, hurtling motif alternately plods and rushes onward, the voicing of the hands obviously a model for Schumann's and Thalberg's three-hand effects. Despite the colossal impetus and violence of the music, it subsides in Osborne's sunny major mode....Osborne bears the many affects of this Herculean journey with a clarity and drive that should repay his adherents with many returns to his traversal of the most audacious products of the keyboard imagination.

See:

https://www.audaud.com/beethoven-piano-sonatas-opp-109-110-111-steven-osborne-piano-hyperion/

[Mandryka]

I'm resisting the temptation to buy this as I have real doubts about what he does in Beethoven sonatas, I hope if anyone does buy it they'll say a bit about their reaction because I want it to be interesting, and I know it could be.

The doubts come partly from the sound, the blend of the voices, which seems to light and too high sometimes to me. And the interpretations, well they're not mainstream but do they have any insights in there?  I suspect they possibly do, I don't know. Too much agony! I'm going to listen to some Sainte Colombe instead.

[Cato]

I'm resisting the temptation to buy this as I have real doubts about what he does in Beethoven sonatas, I hope if anyone does buy it they'll say a bit about their reaction because I want it to be interesting, and I know it could be.

The doubts come partly from the sound, the blend of the voices, which seems to light and too high sometimes to me. And the interpretations, well they're not mainstream but do they have any insights in there?  I suspect they possibly do, I don't know. Too much agony! I'm going to listen to some Sainte Colombe instead.

Here is the website with c. one-minute extracts: perhaps they will help...or only increase the anxiety? 

https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68219

[Brian]

I'm resisting the temptation to buy this as I have real doubts about what he does in Beethoven sonatas, I hope if anyone does buy it they'll say a bit about their reaction because I want it to be interesting, and I know it could be.

Oh, you know Todd won't resist! And I won't either next time Hyperion goes on sale...whenever that may be.

[Todd]

Oh, you know Todd won't resist! And I won't either next time Hyperion goes on sale...whenever that may be.

Was in my cart at Amazon, but it's one of those not available discs on release date.  I'll have to buy from another source if I want it soon.  (If.)

[schnittkease]

There's even more agony when you don't earn in pounds! That being said, Osborne's Hammerklavier was superb.

[Mandryka]

There's even more agony when you don't earn in pounds! That being said, Osborne's Hammerklavier was superb.

Yes I know in the slow movement you get a feeling for how interesting the new recording could be. It's just that I want it to be a bit more bass up than he ever would be, but that's stupid of me probably.

You know the worst thing, I had the chance to hear him play op 109-111 a couple of weeks ago and was too lazy to go.

[Mandryka]

I've started to listen to the last three sonatas on Takahiro Sonoda's Denon set -- I  like the diamantine  treble sound and the powerful slightly cthonic  left hand -- the sound makes me think a bit of Koroliov.

[amw]

I listened to his Op. 106 and actually kind of enjoyed it, which is rare w recordings of this tempo, so maybe that's an endorsement of some kind.

[Mandryka]

I listened to his Op. 106 and actually kind of enjoyed it, which is rare w recordings of this tempo, so maybe that's an endorsement of some kind.

Or maybe you're changing.

You talking about Osborne or Sonoda?

[amw]

Sonoda.

I still like Osborne's Hammerklavier better overall mind.

[Mandryka]

Sonoda.

I still like Osborne's Hammerklavier better overall mind.

Get the new Osborne recording today please and tell me what you think.

To me honest I got a bit irritated by Sonoda's op 109 last night, I probably shouldn't mention that because it's just my mood or something. 

What Sonoda can do and what I can't imagine Osborne doing, is really smash his hand down on the bass and produce a powerful low beautiful sound, and (as a result of hearing Anderszewski on Friday) I now think that's an essential thing in late Beethoven.

[amw]

I probably will get it but not today (don't get paid until wednesday, also don't have good internet where I'm at and don't want to spend time fighting with the hyperion download manager).

Osborne is not the type of pianist who will smash the bass under any circumstances and that's not really what I'm expecting from him, rather something more like a.....modern instruments Paul Komen? Perhaps also a bit of Badura-Skoda or Schiff—analytical and somewhat inward.

[amw]

Predictably, I got it.

The bass is very nice and loud, probably more due to the recording than Osborne exercising his left hand significantly.

Tempi are fast, playing has a wide dynamic range but rarely slips into the extremes. Extreme softness in particular is (as with many other pianists) a way to mark out passages for transcendence and profundity, and that's primarily what Osborne seems to aim for, but not without a sense of wit or humour. The playing is completely devoid of ugliness but also rarely aims for beauty.

On a first listen I wouldn't actually call it particularly analytical or inward playing—if anything it's very "performed" but what is being performed is a sort of undemonstrativeness that, in the best performances, brings about a sentiment of transcendence without calling attention to any particular features of the performance. The only comparison I can think of offhand is Schnabel, and also like Schnabel Osborne takes a lot of care over the silences between notes, whereas unlike Schnabel the undemonstrativeness does not seem like a natural feature of the pianist's style but like something rehearsed to avoid any hints of flashiness or sensuality that his instincts might otherwise lead him to indulge in.

I do like it a lot to be honest.

[Mandryka]

Predictably, I got it.

The bass is very nice and loud, probably more due to the recording than Osborne exercising his left hand significantly.

Tempi are fast, playing has a wide dynamic range but rarely slips into the extremes. Extreme softness in particular is (as with many other pianists) a way to mark out passages for transcendence and profundity, and that's primarily what Osborne seems to aim for, but not without a sense of wit or humour. The playing is completely devoid of ugliness but also rarely aims for beauty.

On a first listen I wouldn't actually call it particularly analytical or inward playing—if anything it's very "performed" but what is being performed is a sort of undemonstrativeness that, in the best performances, brings about a sentiment of transcendence without calling attention to any particular features of the performance. The only comparison I can think of offhand is Schnabel, and also like Schnabel Osborne takes a lot of care over the silences between notes, whereas unlike Schnabel the undemonstrativeness does not seem like a natural feature of the pianist's style but like something rehearsed to avoid any hints of flashiness or sensuality that his instincts might otherwise lead him to indulge in.

I do like it a lot to be honest.

Cheers, it's just inevitable that I'll succumb to the intense urge to hear this NOW!!!!!!!

[PerfectWagnerite]

Been listening to Herman Scherchen's 1958 "Eroica"

https://www.youtube.com/watch?v=gZ6xdKVKncE

Wow, 1958 with the exposition repeat taken in the 1st movement AND the performance is around 43 minutes. The lean sound, blistering tempo, minimal vibrato is very similar to present day HIP performance.

[André]

Been listening to Herman Scherchen's 1958 "Eroica"

https://www.youtube.com/watch?v=gZ6xdKVKncE

Wow, 1958 with the exposition repeat taken in the 1st movement AND the performance is around 43 minutes. The lean sound, blistering tempo, minimal vibrato is very similar to present day HIP performance.

Yes. One of the most stimulating Eroicas I know.