Beethoven's Piano Sonatas

[david-jw]

yes +1 on brendel- I find his early 1990's digital set to be a good antidote to the more excitable interpreters-

[Leon]

There are many.  Kempff, Takacs, Heidsieck, Brendel, Lortie, Lucchesini, O'Conor, for instance.

Happy to see the mention of John O'Conor's set.  It does not often get included in a list of recommendations. 

[George]

It appears that someone has put up all 5 (long OOP) volumes of Pearl's issue of Schnabel's recordings of the 32 sonatas and variations, etc over at demonoid. 

[Bulldog]

Happy to see the mention of John O'Conor's set.  It does not often get included in a list of recommendations. 

O'Conor's Beethoven discs were my introduction to the composer's piano sonatas, so I have a soft spot for them.  I don't listen much these days to Beethoven's music, but when I go for the solo works I tend to play Brendel, Richter or Russell Sherman.  I should give my O'Conor discs a spin to see how they've held up.

[Karl Henning]

Interested to hear your thoughts, Don. We heard O'Conor play the LvB Fourth Concerto live here, with the "Benharmonic."

[Mandryka]

O'Connor was a pianist who played Beethoven  sonatas on some of the Joyce  Hatto CDs. I played some of them quite recently because I was interested in the choices that Barrington-Coup made. And also because I was interested in non-heroic, relatively restrained approaches to Beethoven, especially middle period sonatas.

Many of Barrington-Coup's choices were very astute, but maybe not in Beethoven, Bach or Scarlatti. I didn't find many insights in O'Conner's Beethoven though I selected fairly randomly -- what I heard didn't make me feel inclined to listen systematically. That may well have been a reflection of my mood at the time of course.  I'd be very interested to hear if anyone thinks there's anything special there that I may have missed.

[Bulldog]

O'Connor was a pianist who played sonatas on some of the Joyce  Hatto CDs. I played some of them quite recently because I was interested in the choices that Barrington-Coup made. And also because I was interested in non-heroic, relatively restrained approaches to Beethoven, especially middle period sonatas.

Many of Barrington-Coup's choices were very astute, but maybe not in Beethoven, Bach or Scarlatti. I didn't find many insights in O'Conner's Beethoven though I selected fairly randomly -- what I heard didn't make me feel inclined to listen systematically. But I'd be very interested to hear if anyone thinks there's anything special there that I may have missed.

Last night I listened to a few of the O'Conner/Beethoven discs.  Can't say there is anything special going on, but I still find the performances enjoyable; I also like the soundstage.

[The new erato]

Initial 3 CD set in a projected complete series. Nice price too over at mdt's May releases.

[mc ukrneal]

Looks like someone has finally put together all the Hungerford discs in one small set...

[Todd]

I am most interested in this cycle.  Then I can see which modern day Frenchie owns LvB for that land of many cheeses: Guy or Bavouzet.

[Karl Henning]

Têtes-de-fromage!

[early grey]

Three of Artur Schnabel's volumes of Beethoven Sonatas recorded for the Society of the same name are already on my website. These volumes contain   Sonatas 4 and 16;   9, 13 and 30;   2, 4 and 16. They are now joined by Volume 1 which has three two-movement sonatas. First,  the charming, elegant and witty Sonata  No. 24 in F sharp  with its second movement demanding brilliant technique. Then comes the centrepiece of the three,  Opus 111 in C minor, Sonata no. 32. Those of you who think that a degree of hiss adds to the aura of historical realism will be disappointed. On the other hand  you will at least be able to hear the very very quiet notes in the final variation. I love the moment toward the end of the first movement where after a high G we have a few bars in C major. Thirdly: Sonata 27 in E minor which, in spite of the passionate moments in the first movement, seems to me to be an elegiac composition overall. Somewhat surprisingly for a very physical player, Schnabel holds back on two strong semitone clashes in the first movement. After a rising octave minor scale of 5 notes in the left hand (think Grieg-Hall of the Mountain King) the right hand chord has a G clashing with the F sharp as well as a B ( this is bar 68). You can hardly hear the G at all. Similarly in the recapitulation.   I hope that those averse to restoration will consider a listen: to my mind there is as much atmosphere, sparkle and immediacy as you could wish for in this upload. Connect your lap-top to your sound-system (head-phones do not do justice to the pianist or the recording engineers ) and have this great pianist give you a recital in your own home nearly 80 years on!!! 

www.cliveheathmusic.co.uk 

[Mandryka]

Three of Artur Schnabel's volumes of Beethoven Sonatas recorded for the Society of the same name are already on my website. These volumes contain   Sonatas 4 and 16;   9, 13 and 30;   2, 4 and 16. They are now joined by Volume 1 which has three two-movement sonatas. First,  the charming, elegant and witty Sonata  No. 24 in F sharp  with its second movement demanding brilliant technique. Then comes the centrepiece of the three,  Opus 111 in C minor, Sonata no. 32. Those of you who think that a degree of hiss adds to the aura of historical realism will be disappointed. On the other hand  you will at least be able to hear the very very quiet notes in the final variation. I love the moment toward the end of the first movement where after a high G we have a few bars in C major. Thirdly: Sonata 27 in E minor which, in spite of the passionate moments in the first movement, seems to me to be an elegiac composition overall. Somewhat surprisingly for a very physical player, Schnabel holds back on two strong semitone clashes in the first movement. After a rising octave minor scale of 5 notes in the left hand (think Grieg-Hall of the Mountain King) the right hand chord has a G clashing with the F sharp as well as a B ( this is bar 68). You can hardly hear the G at all. Similarly in the recapitulation.   I hope that those averse to restoration will consider a listen: to my mind there is as much atmosphere, sparkle and immediacy as you could wish for in this upload. Connect your lap-top to your sound-system (head-phones do not do justice to the pianist or the recording engineers ) and have this great pianist give you a recital in your own home nearly 80 years on!!! 

www.cliveheathmusic.co.uk

Thank you.

What would be really valuable is a transfer of  Schnabel's recording of the first Mendelssohn trio with Szigeti, and Fournier.

[Todd]

One of the newer complete cycles on the block, Jean Muller's live cycle, taken from concerts from 2007-2009, almost escaped my notice.  Almost.  Now, I admit I knew and know next to nothing about Mr Muller beyond what's on the web – a Luxembourgian born in 1979 who has taken lessons from Gerhard Oppitz, among others – but that really doesn't matter.  I really only wanted to know how his Beethoven sounded.

So-so, as it turns out.  The set is plagued by two negatives throughout.  First is the suffocatingly close sound.  The microphones appear to have been suspended from the lid.  It's as bad or worse than Craig Sheppard's cycle.  Actually, make that worse, because in addition to no sense of space, and compromised dynamics, the recordings are also bass-shy.  One must conclude that this is largely how Mr Muller wanted the set to sound as he took the unusual step of mastering the set himself.  Second, these are true concert recordings, and they have the slips to prove it.  Absolute note perfection is hardly essential to a successful LvB cycle, but this one has more slips than most, and when compared to the awesomeness of Francois Frederic Guy's recent live recordings, it shows that nimbler pianists are out there recording the same stuff.

I don't want to be all negative though.  Something else runs through the entire cycle as well: a high level of energy.  It sounds as though Muller was feeding off the audience, because in quicker, more energetic pieces he really does quite well.  And on occasion – like Op 54 – he delivers both high energy and a powerful, personal interpretation.  (It helps that Op 54 sounds better than average; the piano sounds as though it is one's listening room.)  Slower, more contemplative passages don't benefit as much, and as might be deduced from what I've written so far, the late sonatas are not the last word in introspection, sophistication, insight, spirituality, etc.  This cycle is best in the earlier works, and higher energy middle works, like Op 53.

Overall, I cannot say that this is a particularly distinguished cycle.  The established pianists are not challenged, and the more accomplished pianists of today (Lucchesini and Guy, say) offer more.  So a cycle that is fine to listen to once or maybe twice, and perhaps as background music, but not a top-flight cycle. 

[Todd]

   


Looks like another young, or at least young-ish, pianist is recording the New Testament.  In rather stark contrast to HJ Lim's first volume, Stewart Goodyear's cycle is off to a promising start.

First, I'll dispense with some unpleasantness.  The sound is only mediocre for a modern recording.  It's clear enough, but it's metallic and colorless.  Perhaps this truly reflects Goodyear's sound in person, but I have my doubts.

That aside, Mr Goodyear is quite the ivory tickler.  Like Ms Lim, he favors fast tempi.  Unlike Ms Lim, he knows what to do with them.  No silly accelerations or decelerations here, there, and everywhere.  Goodyear plays in a relatively conventional fashion, just sped up.  At times, his pianistic mastery is awesome.  The opening of the Hammerklavier is one of the fastest on record, but unlike, say, Schnabel or Gieseking, he displays absolute command; there's nary a hint of sloppiness.  He's closer in approach to Gulda, but Goodyear's playing here has a sense of ease that even Gulda cannot match.  The same holds true for the concluding movement.  It is magnificent in almost every respect.  Another prime example is how Goodyear plays the Allegro section of the first movement of Op 27/1.  It sounds more like an insanely fast and supremely controlled Prestissimo.  Too fast?  Maybe.  Then again, maybe not.  (Think Pollini's playing in Stravinsky's Three Movements from Petrushka, and you'll have an idea how it sounds.)  This commanding technique is evident in all four discs so far released.

Throughout the set, there's gobs o' energy and drive, and an intensity that seems just about right.  He never pushes things quite as far as Gulda or Annie Fischer, say, but this is no wimpy Beethoven.  That written, I cannot say this is tip-top shelf LvB playing.  The limits to Goodyear's approach are most evident in the slow movements, the more contemplative portions of the last three sonatas, and, most tellingly for me, in the Big Three of Op 31.  Don't get me wrong, he plays everything well, but with Op 31, I want more than just sturm und drang in 31/2.  31/1 is too serious.  Same with 31/3.  While it's true that Gulda hardly comes off as light and funny, the great Austrian's approach is more, well, devout, if you will.  I suppose it's somewhat telling that I'm comparing Mr Goodyear more to my established favorites than lesser pianists.  His playing is strong, individual enough to stand out, and serious enough to warrant a complete cycle.

So, I look forward to the rest of the cycle.  It could very well turn out to be one heck of a fine, modern cycle.  I'll say that among modern, not-too-old pianists, Francois Frederic Guy and Andrea Lucchesini still set the standard for me, but Goodyear is not too far behind.  (I can't wait to hear how Jean Efflam Bavouzet and Paavali Jumppanen play in their upcoming cycles.)  There's plenty of good Elveebee still to be had.  One need not listen only to the old hands.

[albedo]

good post


i am making my way through jando's cycle, and was just wondering  who was taking a more recent stab

[not edward]

Goodyear's playing all 32 sonatas in one day (!) here in Toronto next month. I'll admit I'm having trouble persuading myself this is a good idea.

http://www.luminato.com/events/goodyear/

[Shrunk]

Goodyear's playing all 32 sonatas in one day (!) here in Toronto next month. I'll admit I'm having trouble persuading myself this is a good idea.

http://www.luminato.com/events/goodyear/

Not only playing them on a single day, but in chronological order.  Never mind the demands on the stamina of the performer.  It's a lot to ask the listener to give his attention to all of the late sonatas in uninterrupted succession.  Still, interesting idea.

[Coopmv]

Goodness me, 60 pages worth...

The only complete set I have is Kovacevich.  Very exciting at times, but... is it just me, or is he sometimes just pressing TOO hard?  I like a lot of his work, but in certain places I want him to relax more.

The one I noticed recently was the slow movement of op.7, which I may have biases about because it's something I've played myself.  And Kovacevich just doesn't seem to let the silences hang in the air the way they should.  The other recording of that one I have is Jeno Jando on Naxos, and I like it much better.

No one set is always going to work, but I suppose I'm asking, who else might be a good choice for those occasions when I think Kovacevich has taken his intense approach too far?  I don't want laid-back, it's just that sometimes I don't want totally manic!

Did Kovacevich ever record the Complete Beethoven Piano Sonatas?  I thought his set on Philips is incomplete ...

[George]

Did Kovacevich ever record the Complete Beethoven Piano Sonatas?  I thought his set on Philips is incomplete ...

It is and he did (on EMI), but for my money the Philips stuff is better.