Beethoven's Piano Sonatas

[Fred]

MANDRYKA - Thank you for taking me back to Taub. I have previously complained about the sound because I started with 111 (as usual) and the sound gave me ear-ache.  However, I went and listened to the hammerklavier and found the sound very acceptable.  Go figure.  Anyway, superb rendition. Will definitely listen to more Taub (and wonder why he doesn't have a bigger career - if he wanted one, of course).
P.S.  I got my copy of his complete set via the Schirmer Performance Edition (vols 1 and 2) at Amazon and it cost almost nothing.

[Todd]

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Op 2 is bad, very bad.  And it is attributable to Jumppanen's ornamentation in all but the slow movements.  Some ornamentation is cringe-inducing, some ugly, and almost all of it is terrible.  That written, when he plays more directly, he is quite good, recalling his superb playing in the Violin Sonata set with Corey Cerovsek.  His playing in Opp 101 and 106 is also much, much better.  His penchant for the occasional long pause, which also shows up in Op 2, is a mannerism I could live without, but his clarity in the fugues more than offsets quibbles in this regard.  A mixed bag of a set.  I just hope the remaining early sonatas aren't treated similarly to Op 2.  Superb sound.

[Sammy]

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Op 2 is bad, very bad.  And it is attributable to Jumppanen's ornamentation in all but the slow movements.  Some ornamentation is cringe-inducing, some ugly, and almost all of it is terrible.  That written, when he plays more directly, he is quite good, recalling his superb playing in the Violin Sonata set with Corey Cerovsek.  His playing in Opp 101 and 106 is also much, much better.  His penchant for the occasional long pause, which also shows up in Op 2, is a mannerism I could live without, but his clarity in the fugues more than offsets quibbles in this regard.  A mixed bag of a set.  I just hope the remaining early sonatas aren't treated similarly to Op 2.  Superb sound.

I know what you mean about the ornamentation, but I found it only mildly annoying at times.  Still, I wonder why Jumppanen thought his "moves" to be advantageous.

[Todd]

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So, I was looking around for any new cycles, and one Per Tengstrand appears to be recording the cycle.  Two volumes can be found at Amazon Germany, though the lapses in release dates (2014 for volume 1, 2010 for volume 2 (?)) make me think this could be one of those cycles that gets started but not finished.  Anyone know anything about the pianist?

I also found the first volume by Stephan Möller, and he's starting big. 

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[Fred]

Re Moller - bits I've sampled sound very impressive.  He's definitely from the bull-in-a-china-shop school of hammerklavier playing

[Fred]

I bought the moller disk and I must say that in my very very humble opinion, he is AMAZING.  Magnificent technique.  But his playing is also full of heart and fire.  But his disk raises so many questions.  He seems to be 57, but he's only ever recorded about three disks.  How could someone be this good and have recorded so little?  The longer I live, the weirder life gets.
P.S. He seems to also be a specialist in the liszt wagner transcriptions.  Goodness, I would love to hear him in the tannhauser overture.  I'm sure he's quite something.

[Sergeant Rock]

I also found the first volume by Stephan Möller, and he's starting big. 

[asin]B001UJSWI2[/asin]

His Hammerklavier first movement is 9:24...in amw's territory.

Sarge

[Pat B]

The Möller looks to be a recent release, but the back cover indicates the recordings were made in 1991 and 1994.

[Todd]

The Möller looks to be a recent release, but the back cover indicates the recordings were made in 1991 and 1994.

Makes me wonder if this is like the current Sequeira Costa reissue program: new packaging for old-ish recordings on a micro-label.  In any event, I may very well have to place a higher priority on Mr Moller.

[Oldnslow]

Wow, those Jumppannen performances were idiosyncratic, to say the least. Makes Russell Sherman sound like a traditionist. I must say I did fine them interesting. Wonder what Beethoven would have though of them?

[jlaurson]

Wow, those Jumppannen performances were idiosyncratic, to say the least. Makes Russell Sherman sound like a traditionist. I must say I did fine them interesting. Wonder what Beethoven would have though of them?

I particularly love op.2/3, on that recording...

[Todd]

I've listened to Dina Ugorskaja's first LvB disc a couple times, and it is most enjoyable.  Her playing isn't the fastest, the slowest, the weirdest, the deepest, or anything like that, but it is just personal enough, with some extremely good quiet playing and clear inner voices, and the second movement of 111 is slow, quite beautiful, and light and transcendent at the same time.  I look forward to her soon to be released second LvB disc.  Her Handel is also superb, so I opted to order Schumann and pick up all four readily available discs she has out.  I want to hear more from her.

[DavidA]

I have rectors performance from the Royal Festival Hall from 1975. I remember listening to it on the radio and was astonished because as an encore he repeated the the last movement fugue. Unfortunately the Encore is not on the disk. But the performance is terrifying. Richter takes no prisoners - they've all run away!

[Bogey]

I would not be surprised if George already posted this somewhere, but for Schnabel fans, here is another set:

http://www.pristineclassical.com/index2.html

Just scroll down a bit.

And plenty more

http://www.pristineclassical.com/LargeWorks/indexes/composerB.html

[aquablob]

I would not be surprised if George already posted this somewhere, but for Schnabel fans, here is another set:

http://www.pristineclassical.com/index2.html

Just scroll down a bit.

And plenty more

http://www.pristineclassical.com/LargeWorks/indexes/composerB.html

George no likey. I do, though.

[Todd]

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Ogdon's 106 was a recording I'd been wanting to hear for a good number of years, and now I can say I heard it.  Unfortunately, it did not live up to my expectations.  His tempo choices are mostly conventional, which is fine, and he plays the opening movement in big, bold fashion, which is good, and he brings out some details here and there, especially in the second movement quite unlike anyone else, but the slow movement didn't work for me, and the fugue is odd in that at times it sounds like Ogdon is close to his technical limits, only to then let loose and rip through some passages.  He clearly plays for effect.  It ends up being a middle of the road quality performance for me.  The highlight of the disc ends up being the Nielsen pieces, which Ogdon plays exceptionally well.

[George]

I would not be surprised if George already posted this somewhere, but for Schnabel fans, here is another set:

http://www.pristineclassical.com/index2.html

Just scroll down a bit.

And plenty more

http://www.pristineclassical.com/LargeWorks/indexes/composerB.html

I am not a fan of Pristine's work. What I have heard (about a dozen transfers) always sounds filtered and unnatural.

[George]

George no likey.

[Bogey]

I am not a fan of Pristine's work. What I have heard (about a dozen transfers) always sounds filtered and unnatural.

Good to know.

[rondos]

So far I have listened to the first 17 sonatas painstakingly.  It seems to me that Op.31, No.1 is the weakest among them, and I am yet to find a convincing recording of this work.  Any suggestions?

BTW, this afternoon I listened to Richter's live recording of Op.31, No.2 in the Brilliant Classics box.  It is the first time I hear a wonderful recording ruined by constant coughing from the audience.