Beethoven's Piano Sonatas

[Jo498]

The interesting thing with Beethoven is that if one simply counts the pieces, the humorous and lyrical/pastoral actually dominate the "heroic" ones although of course there are more aspects than these two or three and many pieces encompass all of them. But the reception after Beethoven's death mostly focussed on the "heroic" aspect, with a few important exceptions like the Pastoral symphony.

[Florestan]

Florestan, it was pretty much you who DID present a narrative of German seriousness.

Or at least bought into an existing one.

Yes, you're right. I must have been in my argumentative mood.

[Irons]

I have complete or partial Beethoven sonata cycles from Paul Badura-Skoda, Michaël Lévinas, András Schiff, Kazune Shimizu, Stewart Goodyear, Michael Korstick, Yusuke Kikuchi, Paul Komen, Stephen Kovacevich, Daniel-Ben Pienaar, Rudolf Serkin, Paavali Jumppanen and Friedrich Gulda along with plenty of individual releases. I would be hard pressed to identify any of them as being from the French, German, Italian, Scandinavian, Dutch or Japanese schools of piano playing on a blind test.

Suspect that knowing the name of the performer can lend a certain bias to proceedings—if I gave many classical music reviewers a recording of the Waldstein and told them it was by Claude-André Baguette, they would probably review it as being a "representative of the French school" and possessing a "Gallic lightness", whereas giving them the same recording under the name of Hans-Jürgen von Sauerkraut would lead to comments about the "Germanic ponderousness" and so on.

Brilliant which also makes a good point. What if you have the sauerkraut in the baguette? Best of both worlds, maybe.

[Mandryka]

I dug this out this morning. I'd totally forgotten how very good the op 110 is. He clearly had a bit of a swansong.

[Holden]

I have this CD. The Schumann Op 17 Fantasie is the best ever recorded IMO

[Mandryka]

I have this CD. The Schumann Op 17 Fantasie is the best ever recorded IMO

yes it's very good, organic, it breathes. The dynamics change naturally, like a living thing.  (Years since I last heard the Schumann fantasy!)

[Marc]

I have complete or partial Beethoven sonata cycles from Paul Badura-Skoda, Michaël Lévinas, András Schiff, Kazune Shimizu, Stewart Goodyear, Michael Korstick, Yusuke Kikuchi, Paul Komen, Stephen Kovacevich, Daniel-Ben Pienaar, Rudolf Serkin, Paavali Jumppanen and Friedrich Gulda along with plenty of individual releases. I would be hard pressed to identify any of them as being from the French, German, Italian, Scandinavian, Dutch or Japanese schools of piano playing on a blind test.

Suspect that knowing the name of the performer can lend a certain bias to proceedings—if I gave many classical music reviewers a recording of the Waldstein and told them it was by Claude-André Baguette, they would probably review it as being a "representative of the French school" and possessing a "Gallic lightness", whereas giving them the same recording under the name of Hans-Jürgen von Sauerkraut would lead to comments about the "Germanic ponderousness" and so on.

Indeed.
Had a, more a less, likewise kind of debate years ago at another forum. Not about Beethoven's piano though, but about Bach's organ.
The 'standard' (and roughly generalizing) north vs south comparison (severe vs lyrical) was proven wrong in that case, too.

[staxomega]

On Sudbin's recordings of 110, 111 posted a few pages ago, I've played these a few times. Unfortunately these won't be making my personal list. It's very well played Beethoven, but I didn't glean any great insights. The main highlight for me was an exceptional second movement of 110. The final movement of 110 was taken a bit brisker than I prefer, I like it drawn out just a bit more. For those that place recording quality at the forefront, the recorded sound is just fantastic; a very nice experience hearing this played back at concert levels. At least based off this disc I won't be making any blind purchases on his future Beethoven recordings, but will instead sample them first.

[Mandryka]

On Sudbin's recordings of 110, 111 posted a few pages ago, I've played these a few times. Unfortunately these won't be making my personal list. It's very well played Beethoven, but I didn't glean any great insights. . . . For those that place recording quality at the forefront, the recorded sound is just fantastic; a very nice experience hearing this played back at concert levels.

yes I played it when I saw you were and I feel exactly the same

[Ghost of Baron Scarpia]

Listened to Pommier's recording of No 31 and 32, which I enjoyed. Tempos are generally on the slow side in the fast movements, and he uses this to bring clarity to the music. As far as the approach being "light" that was abolished in the finale of the Sonata No 31, where the general treatment of the contrapuntal material is joined by a crushing fortissimo from the left hand. A fine apotheosis to the movement.

[asin]B000EQHV48[/asin]

[Mandryka]

This is Frederic Lamond's Waldstein, I hadn't heard it before and dug it out after reading this survey from Gramophone, I'm glad to have heard it. I'm going to make time to hear his other Beethoven recordings I think. 

https://www.gramophone.co.uk/feature/beethovens-waldstein-sonata-a-guide-to-the-greatest-recordings?utm_content=Read%20article&utm_campaign=Gramophone%20Newsletter%20-%2018FEB19%20&utm_source=Gramophone&utm_medium=adestra_email&utm_term=https%3A%2F%2Fwww.gramophone.co.uk%2Ffeature%2Fbeethovens-waldstein-sonata-a-guide-to-the-greatest-recordings

https://www.youtube.com/v/VwMqQkkm9Aw

[Ghost of Baron Scarpia]

Did a little listening to the sonata No 31, Pommier and Gilels. This sonata threatens to eclipse No 28 as my favorite Beethoven Sonata. I can't get enough of the deceptively simple first movement, and the finale which starts with with a delicately somber mood that blossoms into a noble fugato. The end, with an apotheosis and subsequent wind-down is breathtaking. The little scherzo between is a perfect palate clearer.

I like Pommier's recording. A bit slower than usual, but expressive. Maybe a little more momentum would have been better at the end. Gilel's DG set doesn't do it for me. The first recording of this piece I listened to was Pollini, and it is still my gold standard. I have so many recordings of this work that I want to listen to, Uchida, Brendel, Arrau, Kempff, Levit, Guy, Lortie, oh lord...

[San Antone]

Did a little listening to the sonata No 31, Pommier and Gilels. This sonata threatens to eclipse No 28 as my favorite Beethoven Sonata. I can't get enough of the deceptively simple first movement, and the finale which starts with with a delicately somber mood that blossoms into a noble fugato. The end, with an apotheosis and subsequent wind-down is breathtaking. The little scherzo between is a perfect palate clearer.

I like Pommier's recording. A bit slower than usual, but expressive. Maybe a little more momentum would have been better at the end. Gilel's DG set doesn't do it for me. The first recording of this piece I listened to was Pollini, and it is still my gold standard. I have so many recordings of this work that I want to listen to, Uchida, Brendel, Arrau, Kempff, Levit, Guy, Lortie, oh lord...

I just listened to this no. 31 -



I usually think of Tharaud for French post-Romantic piano works, i.e. Debussy, Ravel; or Baroque music, and wanted to hear how he did Beethoven.  I am lousy with comparing recordings, it sounded okay to me, but I'm curious what others may think who are more familiar with the work than I.

[Mandryka]

I just listened to this no. 31 -



I usually think of Tharaud for French post-Romantic piano works, i.e. Debussy, Ravel; or Baroque music, and wanted to hear how he did Beethoven.  I am lousy with comparing recordings, it sounded okay to me, but I'm curious what others may think who are more familiar with the work than I.

It's polyphonic and chamber music scale rather than like a colourful symphony for solo piano. I mean, he doesn't produce a richly coloured blend of sounds, but he does give each voice its character. Good find, it's something interesting.  Very nice piano, a  Steinway model D, beautifully recorded.

[Brian]

I just listened to this no. 31 -

I usually think of Tharaud for French post-Romantic piano works, i.e. Debussy, Ravel; or Baroque music, and wanted to hear how he did Beethoven.  I am lousy with comparing recordings, it sounded okay to me, but I'm curious what others may think who are more familiar with the work than I.

I enjoyed it. Don't have much detailed comment beyond that.

[JBS]

I just listened to this no. 31 -



I usually think of Tharaud for French post-Romantic piano works, i.e. Debussy, Ravel; or Baroque music, and wanted to hear how he did Beethoven.  I am lousy with comparing recordings, it sounded okay to me, but I'm curious what others may think who are more familiar with the work than I.

I think he did a good job. But he's the sort of pianist one wishes to record stuff that's not recorded by Every Important Pianist.

[Mandryka]

I think he did a good job. But he's the sort of pianist one wishes to record stuff that's not recorded by Every Important Pianist.

That was my reaction when I saw the post about it, but I think there are  enough ideas in there to make me glad he spent time on these sonatas. Maybe, I only listened once and that was after quite a bit of wine, so I could be completely wrong!

[amw]

I listened to his 109 and it didn't make a strong impression on me one way or the other.

[Ghost of Baron Scarpia]

I listened to his 109 and it didn't make a strong impression on me one way or the other.

Phew, that's a relief. I don't have to get it, then...

[SurprisedByBeauty]

I just listened to this no. 31 -



I usually think of Tharaud for French post-Romantic piano works, i.e. Debussy, Ravel; or Baroque music, and wanted to hear how he did Beethoven.  I am lousy with comparing recordings, it sounded okay to me, but I'm curious what others may think who are more familiar with the work than I.

Quite wonderful, I think. The little things in it. I've yet to deep-dive, and it ain't Pollini... but I think this is special - in the Variation movement of 111 esp.