Beethoven's Piano Sonatas

[The new erato]

That's a great, well written opening paragraph!

Reminds me of a review of a Julio Iglesias concert; "no seat was dry".

[Brian]

Yes, I know the joint... which is one of the reasons I'm frustrated with it. And I don't think it's necessarily British, because the old editor at Seen & Heard was cut from a different cloth, altogether... not fuddy-duddy-anything-goes, but with a strict desire for quality. (Though it's a tough fight when you haven't got money to reward good 'behavior', as it were.)

That's a great, well written opening paragraph!

Thanks!

I associate their style with Britishness because I also encountered it with my professors over there, and with people describing restaurants, and so on. The most damning insult available to one of my classmates was "it's a bit crap, isn't it?" But don't know the S&H side of things. And hey, I'd write reviews for dollars if it were possible, but there aren't too many people who get to do such a pleasant job... still prefer writing for amateurs to not writing at all.

[Ataraxia]

Thanks!

I associate their style with Britishness because I also encountered it with my professors over there, and with people describing restaurants, and so on. The most damning insult available to one of my classmates was "it's a bit crap, isn't it?" But don't know the S&H side of things. And hey, I'd write reviews for dollars if it were possible, but there aren't too many people who get to do such a pleasant job... still prefer writing for amateurs to not writing at all.

Do a review blog and monetize it. You're welcome.

[Brian]

Do a review blog and monetize it. You're welcome.

Watch it or I'll charge you to read my GMG posts!

[Ataraxia]

Watch it or I'll charge you to read my GMG posts!

I'm already paying to read them.

[Karl Henning]

Watch it or I'll charge you to read my GMG posts!

Wait — Dave hasn't been voluntarily paying you per post?

[Ataraxia]

These Gold Subscribers throwing their weight around. Hmph!

[Brian]

I'm already paying to read them.

Touché, and I to read yours.

[Ataraxia]

Touché, and I to read yours.

Oh, yeah...sorry about that.

[Sammy]

Yes, I know the joint... which is one of the reasons I'm frustrated with it. And I don't think it's necessarily British, because the old editor at Seen & Heard was cut from a different cloth, altogether... not fuddy-duddy-anything-goes, but with a strict desire for quality. (Though it's a tough fight when you haven't got money to reward good 'behavior', as it were.)

Perhaps, but they do get paid in plastic.

[jlaurson]

Perhaps, but they do get paid in plastic.

That attitude is precisely the problem. It's not payment, it's the precondition of the job. It's like a restaurant reviewer just being glad to get some food. Ought not be that way.

[kishnevi]

Well, I didn't expect to get my laugh of the day from a link off of this thread!   Brian, that was a great review, as much for what it didn't say as what it did.

I do think Hurwitz was wrong about the Kalliwoda recording he mentions, btw.

Thread duty--listened today to CDs 2 and 3 of Guy's first volume (and CD 1 last night).  Everything seemed well done; only flaw being some minor audience noise in one sonata.

[xochitl]

just finished going through the last few spots id missed from the paul lewis cycle [sonatas #11-14 and 26-28]

the early ones really bored me, even the moonlight.  26 was really good and the last movement really took off

but 27-28 i thought reached sublime peaks i havent heard in a long time. as good as his hammerklavier

[Brian]

Well, I didn't expect to get my laugh of the day from a link off of this thread!   Brian, that was a great review, as much for what it didn't say as what it did.

Thanks! Though at the time I feared I was saying too much.

[Lilas Pastia]

I've compared Brautigam and Heidsieck in the second sonata. First of all, it should be noted that this is a wonderful work, with a spellbinding slow movement. It is in this particular movement that the difference is most remarkable. Both artists make their point by virtue of a clearly discernible musical plan. Heidsieck is much more pensive and hesitant in the Largo appassionato, making it sound like a mysterious quest. Overall they are both entirely valid and totally satisfying. But Heidsieck plumbs much greater depths.

I have few comparisons on hand (Ashkenazy and Roberts), and I don't think these two would make me change my mind. I'm curious to hear what Arrau and Brendel come up with in this sonata.

[Mandryka]

I've compared Brautigam and Heidsieck in the second sonata. First of all, it should be noted that this is a wonderful work, with a spellbinding slow movement. It is in this particular movement that the difference is most remarkable. Both artists make their point by virtue of a clearly discernible musical plan. Heidsieck is much more pensive and hesitant in the Largo appassionato, making it sound like a mysterious quest. Overall they are both entirely valid and totally satisfying. But Heidsieck plumbs much greater depths.

I have few comparisons on hand (Ashkenazy and Roberts), and I don't think these two would make me change my mind. I'm curious to hear what Arrau and Brendel come up with in this sonata.

I like what Brautigam does with the largo there. It makes me think of a moody, angry, upset teenager. Beethoven was about 26 when he wrote that music. 

Arrau's is at the complete opposite extreme. If you think Heidsieck is deep then wait till you hear what Arrau does!

If your exploring this one, others that stick in my mind for being interesting are Schnabel, and one very good one from Horszowki on Arbiter. And Kempff mono.

[Holden]

I love the way that Hans Richter-Haaser plays this work. Listening to the Brautigam Largo now and will seek out the Arrau but not sure which version.

[Mandryka]

I meant the Philips Analogue one. I have that Richter Hasser CD but I've never played it. Will do so this evening. You know French EMI recently released a selection of his records in a bargain box?

And I forgot the one which is maybe the best of the lot -- Maria Grinberg.

[Sammy]

That attitude is precisely the problem. It's not payment, it's the precondition of the job. It's like a restaurant reviewer just being glad to get some food. Ought not be that way.

What way should it be?

[prémont]

I like what Brautigam does with the largo there. It makes me think of a moody, angry, upset teenager. Beethoven was about 26 when he wrote that music. 

Maybe not quite besides the point, as the title of the movement is Largo appassionato.