Beethoven's Piano Sonatas

[Pat B]

Earlier today I listened to Hélène Grimaud's Tempest (on her "Credo" disc). I think of Grimaud as a fiery player, but I don't think that description fits here. What I kept noticing here was a delicate touch. If anything, I wished for a bit more fire in the finale. But, I liked it a lot and need to listen to it again.

I also liked the way the Corigliano piece led into it.

I know Sergeant Rock is a fan. Anybody else?

[amw]

I remember enjoying her recording of the 4th piano concerto. The Op. 109 and 110 on the same disc were less memorable.

[Ken B]

Looking around for some new LvB, I stumbled across volume 3 of a supposedly complete cycle by Claudio Colombo.  Who is Claudio Colombo?  Well, it looks like he's a veritable recording prodigy, having recorded everything under the sun.  Sort of like Joyce Hatto, but all digital.

But you can sample his work:

http://www.youtube.com/v/qsjruDewFEM

http://www.youtube.com/v/xhO8bXatZus


Any takers?

I believe there are electric pianos that can play a score. That's what this sounds like. Yamaha electrics are mentioned on Todd's link.

What's a Joyce Hatto?

[Dancing Divertimentian]

What's a Joyce Hatto?

A modern-day pseudonym for anyone attempting this: "Hoaxterus Maximus".

[Fred]

Anyone listening to Melodie Zhao.  I've really enjoyed what I've heard so far. 

[The new erato]

What's a Joyce Hatto?

You didn't buy the boxed set?

[Ken B]

You didn't buy the boxed set?

I probably did, on other labels ....

[Fred]

Listening to Levinas and think he's fantastic.  My first criteria is always technique, because I hate it when it sounds like the pianist (no matter how musical) has to compromise his artistic vision because he doesn't have the chops (e.g. Brendel). Levinas has technique to burn but also wonderful fire and passion.  Really my cup of tea.

[mc ukrneal]

because I hate it when it sounds like the pianist (no matter how musical) has to compromise his artistic vision because he doesn't have the chops (e.g. Brendel).

You are welcome to dislike him all you want, but to claim he lacks technique begets more questions about you than about Brendel. To make matters worse, I think that musicality trumps technique pretty much without fail (for example, an aging Barenboim who is not the same pianist he was years ago, but has so much to say about the music). Having a vision is not about technique (which is can you actually play the music the composer put down on paper), but is about musicality (how to string it all together, etc.). Of couse, one would prefer not to choose between the two. In the case of Brendel, one does not have to.

[amw]

Brendel has loads of technique. If anything the critique I'd make of his playing is that sometimes there's more technique than insight, the "sewing machine" problem (I do enjoy some of his recordings though)

[Fred]

OK, OK. I'm probably wrong about Brendel, and shouldn't have dragged him in. But I do love Levinias.

[Ken B]

You are welcome to dislike him all you want, but to claim he lacks technique begets more questions about you than about Brendel. To make matters worse, I think that musicality trumps technique pretty much without fail (for example, an aging Barenboim who is not the same pianist he was years ago, but has so much to say about the music). Having a vision is not about technique (which is can you actually play the music the composer put down on paper), but is about musicality (how to string it all together, etc.). Of couse, one would prefer not to choose between the two. In the case of Brendel, one does not have to.

I don't really get the notion Brendel lacks technique. Or anything really. I find his Mozart concerti a bit prettified for my taste, but he's a wonderful pianist in every solo recording I have heard.

[aquablob]

I don't really get the notion Brendel lacks technique. [...] he's a wonderful pianist in every solo recording I have heard.

I feel the same way. His solo recordings of Mozart, Haydn, Beethoven, and Schubert are top-flight stuff (for me).

Also, I think there's something misleading about the way the word "technique" is often used. The implication tends to be precision at fast tempo, but what about the clear and balanced articulation of multiple voices simultaneously? I'd call that the fundamental technical challenge of classical piano. Perhaps it's so fundamental that it's easy to overlook, but the best pianists obsess over it. It's at the heart of interpretation at the keyboard, and in that sense there is no separation between technique and musicality.

(I'm probably preaching to the choir here.)

[Ken B]

I feel the same way. His solo recordings of Mozart, Haydn, Beethoven, and Schubert are top-flight stuff (for me).

Also, I think there's something misleading about the way the word "technique" is often used. The implication tends to be precision at fast tempo, but what about the clear and balanced articulation of multiple voices simultaneously? I'd call that the fundamental technical challenge of  classical piano. Perhaps it's so fundamental that it's easy to overlook, but the best pianists obsess over it. It's at the heart of interpretation at the keyboard, and in that sense there is no separation between technique and musicality.

(I'm probably preaching to the choir here.)

That miraculous ability to keep all the voices absolutely clear at all times was what made Gould, for all his vocalizations and sometimes odd interpretation, a great pianist. I think he could have played Spem in alium 

[jlaurson]

Thanks. I will keep my eye out.
I like the samples I have heard on Azon of the Gramola set. I like the piano. Is that a Bosendorfer? I am getting interested in the different pianos.

It's a Boesendorfer Imperial, yes. In a way the most Viennese of all the LvB Sonata cycles...

[Fred]

Regarding Brendel, I was really only thinking precision at speed, and note that, in a documentary about Brendel, I remember him expressing surprise about his success because he admitted that others could play faster than him.
Levinas reminds me of Kikuchi, Korstick, et al, but plays with more passion.  Still knocked out.

[Todd]

I started getting antsy about when, or even if, Melodie Zhao's cycle would be released on disc, so I contacted the US distributor of Claves to see if they had any info.  Well, turns out they did not know about the release, but after I provided them with the catalog and EAN numbers (which I would have thought they should be able to get), they confirmed that it should be arriving in the US next month.  Since Peter Rosel's in en route now, I think I can wait that long - but not much longer.

[Marc]

Anyone listening to Melodie Zhao. I've really enjoyed what I've heard so far.

Listened to the Pathétique, of which the slow movement is one of my faves. But, to be frank, Mélodie Zhao didn't mesmerize me at all. The Rondo was better played IMO, she managed to give more feeling to the more intimate passages. In general, her approach seems to be rather no-nonsense and there are certainly no long dull legato phrases, which is an approach that I like. Zhao's technique is flawless, as far as I can 'judge'. 

If the entire set is like this, I'd say it's a nice starter for Beethoven newbies.
Mélodie Zhao is still only 19, so I think Beethoven will grow on her.

Who knows, we may expect a new integral when she's 29. And a third one at 39 (et cetera).

[Marc]

Listened to the Pathétique, of which the slow movement is one of my faves. But, to be frank, Mélodie Zhao didn't mesmerize me at all. The Rondo was better played IMO, she managed to give more feeling to the more intimate passages. In general, her approach seems to be rather no-nonsense and there are certainly no long dull legato phrases, which is an approach that I like. Zhao's technique is flawless, as far as I can 'judge'. 

If the entire set is like this, I'd say it's a nice starter for Beethoven newbies.
Mélodie Zhao is still only 19, so I think Beethoven will grow on her.

Who knows, we may expect a new integral when she's 29. And a third one at 39 (et cetera).

Listening to Opus 101 right now and this is more to my likings. Plenty of innigste Empfindung in movement I, good feeling for contrasting (e)motions in the Scherzo, and a good balance between right and left hand. Maybe I miss a certain amount of Sehnsucht in the slow movement, but Zhao is certainly 'risoluto' enough in the Finale.

I have to admit though that I'm no Beethoven 'expert' at all. I just listen to this great music and enjoy. Even though I know at least a handful (or two) of other Beethoven pianists, I wouldn't dare to make a Top 10 and I wouldn't know how to appreciate Zhao compared to others. Besides that, I've only listened to 2 sonatas so far. But if you can find this set for a cheap price (like some of the mp3 downloads available) it's certainly a steal.

[Pat B]

Trudelies Leonhardt's op. 28 with a Seidner fortepiano from ~1815-20 (on Globe) has really grown on me. Today I listened again and liked it so much that I pulled out two bigger names, Kempff (mono) and Gulda (on Amadeo) for comparison (I don't have any other fortepiano recordings of this). The differences in instrument sound are obvious -- clarity and all that. Going beyond that, I think her performance is on a very high level. Her phrasing is very musical. She uses lots of agogic hesitations, but they are very subtle, so that the pulse never gets lost. I like her playing a lot.

It was an interesting experience. I don't usually do much comparative listening.

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