John Kane Plays Beethoven

[Todd]

The existence of John Kane's Beethoven cycle took me by surprise.  That in itself is ultimately not surprising since Mr Kane is not a professional pianist, and this cycle is the first I've seen advertised as "homemade".  The recordings were literally made in the pianist's home, and Kane served as his own engineer.  The recordings were made between April and November 2016, and the liner notes indicate that they were either minimally edited, or not edited at all.  In addition to this set, Kane has recorded a good chunk of other core rep, but the amateur Beethoven cycle was all I wanted.  The cycle comes packaged as nine individual CD-Rs packaged in nine old fashioned jewel cases themselves encased in an old-fashioned, thin cardboard box.  The use of CD-Rs is new for my sonata cycle collection, but the other packaging is common.  As to the pianist, he studied at Northwestern and spent time studying with John Browning while the latter was Artist-in-Residence at the university, and he entered the Sixth Van Cliburn Competition, and after not doing very well, he pursued a career in business.

I'll jump right in with Op 2.  The sound quality definitely gives away the amateur nature of the set.  Sound is distant-ish, resonant, opaque, rolled off, congested in loud passages, and has poor stereophonic sound for a contemporary recording.  (One can listen in mono with little going missing.)  I've literally heard a piano recording made in my home that sounds better.  (The guy I bought my house from recorded New Age music in the great room and he gave me a disc to listen to; sound was fine, the music, well, let's move on.)  Kane starts 2/1 with a super-speedy Allegro.  It's got energy and some decent loud playing, and is otherwise straight-forward.  The Adagio sounds slow and plain, with not much expression.  The Menuetto sounds nice.  The Prestissimo is slow and heavy at times, and the loudest passages sound fiery but congested.  2/2 is much the same, with a peppy opener, a slow Largo with some hefty loud passages, a Scherzo that is peppy in the outer sections and peppier yet, and dramatic, in the trio, and ends with a more lyrical and relaxed Rondo, though the middle section is suitably more intense.  2/3 starts with a very peppy Allegro con brio, but the congested sound turns some passages into a blur.  The Adagio is slow and steady, with Kane belting out the loudest notes to pretty good effect.  The Scherzo is peppy and light in the outer sections, but Kane really belts out the middle section.  Kane ends with an Allegro assai with just about the right amount of energy and drive, though congested sound and playing both crop up.  A mixed opening trio.  While never great, it's certainly much better than Sebastián Forster, and the third sonata, in particular sounds nice.

The second disc starts with Op 10/1, and here Kane plays conventionally.  The Allegro molto e con brio has quick ascending arpeggios and the rest of the movement more or less moves along like a standard interpretation.  The Adagio and Finale likewise fall well within the bounds of convention, though the energy and sforzandi in the Finale are undeniably appealing.  10/2 starts with a too slow Allegro, moves to a tense Allegretto characterized by nice dynamic contrasts that would have been even better with proper sound not muddying the quieter passages, and closes with a generally peppy and fun and repeat-filled Presto, though some passages get bogged down with kludgy sounding playing.  Kane starts 10/3 with a very fast, and not particularly clear Presto.  He deploys some rubato, slows up some in some passages, and then goes for breakneck speed in some other passages.  The Largo is of the fast and tense variety, with what in a better sounding recording would be a satisfying climax.  The Menuetto is on the quick side and the Rondo on the more moderate side.  It's good.  The disc ends with Op 13.  Kane opens with a bracing Grave then plays the Allegro section with a sort of controlled exuberance.  The Adagio cantabile sounds serviceably lyrical and lofty, and the Rondo is nicely paced with ample drive.  A pretty good disc.

Disc three starts with Op 7, and the congested and blurred sound detracts markedly from the Allegro molto e con brio, which is otherwise played with ample energy, nice rhythm, nice sforzandi, and nice rubato, all without being too nice.  The nicely paced Largo has some potent forte playing and at times displays a wonderfully steady, subdued left hand underpinning sharper right hand playing, with Kane using pauses and rubato nicely, and some of the playing before and during the coda is just lovely.  In overall effect, the movement is sort of reminiscent of the slow movement of Op 28.  Very nice.  Kane plays the Allegro on the slow side overall, doing the lovely, lilting thing a bit, but also throwing in some nice dynamic gradations.  The middle section, though muffled, manages to both growl and laze about.  The Rondo, not shying away from the grazioso designation, is comfortably pastoral in nature.  That's not to say the Kane doesn't play with some intensity in places - he does - just that this isn't too pressed.  While there are certainly better versions, and better executed versions, of this sonata out there, here's a case where an amateur pianist delivers a fully satisfying rendition of a sonata.  Op 54 starts with a somewhat reserved first movement.  The Menuetto theme is attractive, and the triplets section manages to be both hard hitting and a bit slower than normal, coming close to sounding lumbering.  The second movement comes off as too slow and labored to be truly effective, though the forte playing is nice.  The disc ends with Op 57.  Kane starts the Allegro assai off dark and quick, then he blasts out the music.  It's loud and clangorous and rushed, and blurred and not ideally secure, but it packs a wallop.  A solid opener.  The Andante con moto marries a slightly slow delivery with a sense of urgency.  Kane starts the final movement by playing at a blistering pace.  If some of the playing is blurred, and some a bit thick, the overall super-charged atmosphere and intensity makes up for it.  Not one of the greats, but very, very good overall. 

The fourth disc opens with the Op 14 sonatas.  The Allegro of 14/1 is uncommonly leisurely and melody dominated.  The Allegretto keeps the same approach, veering into lovely Adagio territory, and the Rondo, while not as relatively slow, keeps the same vibe.  Nice.  14/2, in contrast, is fast.  Yes, there are faster takes, but it's like Kane contrasts one sonata with another.  He generally plays at a comfortable volume - the otherwise sub-par sound does make it clear how often Kane plays softly - with an exception in the more vibrant middle section.  He keeps the second and third movements light and playful, too.  Op 26 follows, and the sonics sound slightly improved.  The Andante and variations are straight-forward with nothing outside standard performance parameters, and Kane tosses in some nice personal touches and seems to speed up the basic pulse as the movement progresses.  The Scherzo is quick and forceful, though some of the faster left hand passages sound a bit untidy.  The funeral march is fast, tense, and almost angry, though not especially large in scale, at least to start.  The middle section is even faster and edgier than the surrounding music.  Kane then dashes off the Allegro with something approaching recklessness.  The sonata easily surpassed expectations.  The first Quasi una fantasia follows.  Kane plays the opening Andante in a standard and attractive manner.  The first Allegro section finds Kane playing nearly recklessly again, though the effect is not unpleasant.  The Allegro molto e vivace is not quite borderline reckless, but it is fast and rather intense and maybe a bit mashed together in the coda.  The Adagio is lovely but tense, and it bluntly segues to an Allegro vivace that displays more quasi-reckless playing punctuated with loud-ass sforzandi.  It doesn't keep up the pace the whole time, and some of Kane's accenting tips into the perhaps too personalized, though everything flies by, so there's not much time to dwell on it, at least until the elongated music immediately preceding the zippy coda.  27/2 keeps up the zippy feel with an Adagio sostenuto that comes in at a tight 5'17".  Generally quick and unsentimental, with some left hand note values discreetly extended, the movement is done before you know it.  (I'd hazard a guess that this is a one take recording.)  The Allegretto is also a bit quick, but more standard in conception, and the Presto agitato is fast, blurred, clangy, usually loud, and enjoyable.  It's not a top twenty take, but it never felt like a dutiful listen.

Disc five is devoted to the Op 31 trio.  31/1 starts with a very fast Allegro vivace characterized by strong forte playing, a sense of fun, and something of a lack of clarity.  To mix things up, Kane accelerates in some later playing and at times the playing borders on the aggressive.  That's not a bad thing.  Through a combination of the sonics, the tempo, and pedaling, Kane starts the Adagio with blurred trills and creates a sort of dreamy, jokey effect.  Once again he plays some music, like the second sets of trills, at a very fast pace, but here he plays a lot of the music at a very appropriate slow pace.  The chordal section opens with a bang and then is played slower and weightier than before, and the return to the opening material finds Kane slowing down and luxuriating a bit, before finally returning to some speedy trills and more buoyant playing.  The Rondo is conventional in conception but leisurely in execution, making it more attractive but less fun than I generally prefer.  Still, the sonata is not bad.  31/2 starts with a slow but not particularly dramatic Largo and moves to a not particularly fast Allegro that contains a nice degree of drama.  The Adagio is on the slow side and is mostly subdued, while the Allegretto is also on the slow side, but Kane powers out the loudest passages to good effect.  Not a top forty take.  31/3 starts with an Allegro just a hair on the broad side, but otherwise it displays ample energy and fun.  The Scherzo displays more of Kane's rushed, almost reckless playing, with boisterous outbursts and high levels of energy.  The Minuetto is generally more relaxed and lyrical, the slow middle section with its potent loud playing aside.  The Presto con fuoco is fast, but here Kane makes it a point to play some of the music in positively thundering fashion.  It's not the most secure sounding playing, but it works well. 

The sixth disc opens with Op 28, and based on prior recordings, expectations were moderately high, in the context of the cycle, for this sonata.  Kane doesn't disappoint.  He plays the opening Allegro at a reasonable tempo, peppering the playing with some nice sforzandi, and building up to a satisfyingly powerful climax.  There's nothing too adventurous to be heard.  Kane then opts for an extra slow Andante, as in Largo slow.  He holds the musical line together, but it drags on a bit.  On the plus side, he shows just how quiet his pianissimo can get - and that's very quiet, indeed.  He ends up playing the middle section even more slowly in relative terms, coming perilously close to breaking the line, and he reserves some powerful playing for near the end of the piece.  As far as too-slow second movements go, this one is good.  Kane then takes the opposite tack for the Scherzo, playing it quick 'n' jaunty, with spicy sforzandi, and a thundering coda.  The Rondo starts off relaxed and lilting and quite lovely, but as the movement progresses he alternates between quiet and lovely playing and massive sounding, stinging fortissimo playing.  It could flow better, and be a bit tighter, but it works overall, as does the sonata.  The Op 49 sonatas follow.  In the first, Kane plays the Andante very slowly and contrasts that with a very peppy Rondo.  In the second, Kane plays the Allegro ma non troppo in a peppy and light manner and the Tempo di Minuetto in a slightly fast but always lovely manner.  Op 53 closes the disc.  Kane opens the Allegro con brio with a nice combo of speed and quietness, but that quickly transforms into louder, more extroverted playing, some of which is thick and opaque, especially from the left hand, and some of which is quite fast and approaching the near-recklessness of some prior playing, and the loudest passages also veer into nearly out of control banging.  There's certainly ample energy.  The Introduzione is a bit stiff, but otherwise falls in the acceptable category, while the Rondo is of the swift, weighty, sometimes nearly or actually banging, and sometimes slightly untidy variety.  I've certainly heard worse, but I've also heard much better.

Disc seven starts off with Op 22.  Here Kane goes for a swift Allegro con brio, using rubato to rush some phrases even more, and hammering out forte notes and chords to generally good effect.  In contrast, Kane plays the Adagio very slowly, lingering over some passages, injecting some pauses, including one whopper, and generally maintaining calm demeanor.  It's not profound, or anything, but it's nice.  Kane keeps the Menuetto lovely and relaxed when not playing loud in the outer sections, and against expectation he plays the trio in a slow if loud fashion.  The Rondo is generally lyrical and flowing, though Kane spices things up with some potent fortissimo playing and fun rubato.  Op 78 follows.  The opening movement is more or less conventional with a few standard interpretive devices thrown in (eg, quite loud sforzandi), and the Allegro vivace is on the generally swift side.  Op 79 starts with a quick, clear, staccato laden Presto all tedesca, moves to a lovely and subdued Andante, and ends with an energetic Vivace.  Not bad.  The opening movement for Op 81a is a raucous, sometimes rough goodbye, with a few tender passages.  The second movement is often tetchy, especially in the first portion, and it ends in very well done pianissimo resignation.  The final movement is ebullient if a bit rough-hewn, though that's not necessarily a negative.  Op 90 starts with a first movement that is slow, and while it has some loud, biting playing, it sounds more depressed than angry.  The second movement is slow and steady, with a nicely lyrical and often very quiet sound, interrupted by loud outbursts to good effect. 

The eighth disc is devoted to the first two of the last five sonatas.  Op 101 starts with a fairly direct Allegretto ma non troppo.  It doesn't establish a transcendent sound, really, but it sounds good, and Kane once again adds some potent forte playing.  In the march, Kane's penchant for powerful sforzandi pays dividends, and he plays with a nice enough rhythmic drive, though some roughness can be heard.  The Adagio has just about the right tempo but lacks a transcendent sound.  The final movement is taken at a deliberate tempo.  It lacks the clarity and drive of better versions and seems quite careful in approach.  Op 106 starts with a slow Allegro that comes in at over twelve-and-a-half minutes.  The fastest and loudest passages, while sounding a bit shaky and rough at times, generate ample energy and Kane's penchant for hammering out loud music works here, too.  The slower passages sound more plain and cautious, but the movement is more engaging than one might expect.  The Scherzo sounds a bit swifter and more scampering, but otherwise displays the same basic traits.  The Adagio is about middle of the road overall in tempo terms at just over eighteen minutes.  Despite the tempo, the playing retains something of a sense of urgency, but it never really seems to delve deep and in some passages seems like a run-through.  The finale movement starts with a Largo that starts subdued and slow, becomes more agitated and a bit gruff, and then moves to a fugue that is nicely paced but not especially clear and sometimes it sounds a bit ragged.  Energy flags a bit at times, but the movement maintains its forward drive.  Overall, neither sonata rates with the greats.  The recorded sound for the disc is a bit better, with an improved perspective.

Disc nine ends the cycle with the final trio.  Kane opens 109 with a swift Vivace ma non troppo, once again displaying some soft playing, but it is fairly light.  Predictably, he also belts out the loudest portions of the Prestissimo with gusto and almost rushes through parts of the movement.  The final movement opens with a lovely Andante theme that sounds more elevated and transcendent.  The first variation keeps most of the feel, but the gruff left hand playing subtracts a bit.  The second variation sounds a bit too slow, and though the pianissimo playing is spectacularly quiet, it sounds sort of contrived.  The third variation sounds quite rushed, though the fourth moves back to a more transcendent sound, which is mostly maintained in the fifth, though some stodgy left hand playing again detracts a bit.  The concluding variation, though, returns firmly to the soundworld and approach of the opening theme.  Op 110 also starts swift and light, with some more gruff left hand playing.  It's not bad, but it is more middle period in style.  The Allegro molto is fast and potent and close to rushed in places.  The final movement starts off with a first arioso section sounds searching and slightly tense, the fugue is a bit slow but clearer than expected, the second arioso is darker hued than the first, the repeated chord transition predictably powerful at the end, and the inverted fugue much like the fugue.  Overall, the sonata is slightly better than 109.  Op 111 starts off with potent, striking Maestoso with one notable fudge, indicating that this is not a sliced and diced set, and then it moves into an Allegro that is nicely paced, with strong sforzandi, in the faster passages, though the playing does not seem ideally secure.  Kane opens the second movement with an extremely slow Arietta, to the point that it nearly becomes static.  Somehow, though, it works.  The effect isn't as positive in the similarly slow first variation.  The second variation speeds up, and Kane plays with rubato and syncopation that at times makes it sound like a slow-motion boogie-woogie variation.  He then pushes the third variation quite a bit, adopting the nearly reckless approach at times, though he also slows down in places, too, and either drops some notes in one place, or plays them as a blob with others in one place - it's kind of hard to tell.  Kane's penchant for pianissimo playing comes in handy in a few places thereafter, including soft, slow "little stars" that sound dreamy.  Likewise, while not the steadiest and most even chains of trills, Kane's soft touch pays off in those, too.  The sonata takes a while to get to the Elysian Fields.  The sonata is the best of the late sonatas.

The first openly amateur cycle in my collection sounds amateur in terms of sonics and more than occasionally in terms of execution.  That written, it's not the worst cycle I've heard, and it's roughly on par with some other obscure, self-published cycles in terms of sound and accomplishment.  It reminds of Steven Herbert Smith's cycle most of all.  I can't really recommend the cycle to anyone other than hardcore cycle collectors.  Ultimately, it's a fourth tier cycle, though it may border on third tier for certain sonatas (eg, Opp 26, 31/3, 57; Op 7 is probably even relatively better).  It's more consistent than the fellow, recent fourth tier set from Sebastien Forster, though it doesn't peak as high, and it's more enjoyable and individual than Martin Rasch.