On The Hunt

[Todd]

I find the piano sonatas of Ludwig van Beethoven to be of slightly above average quality.  I have made it a point to try to hear at least a handful of different versions of each of his piano sonatas.  If only more pianists would endeavor to record some of these rarely recorded sonatas!

Over my years of collecting, I have never sat down and done what needed to be done: compare all recordings I possess of a given sonata.  I figured it was about time.  But which sonata?  I could have gone late, but I wanted to do something else.  I've always been exceedingly fond of the Op 31 sonatas, seeing them as a crucial trio in the composer's development, so I landed there instead.  Here, making the choice was easy.  The Third.  The Hunt.  It's the best.  So time to give it a go, with fresh ears, abandoning all pre- or even post-conceptions.  Given the large number of recordings, I will provide briefer descriptions than I sometimes do, at least in some cases.  My ultimate goal is to find The One.  There surely must be one that smites all others!  (Or not.)  So, time to dig into the 125 recordings I possess as of the time I e-scribble these words.   












Why start with one version of the sonata from one pianist when one can start with three versions?!  The great Arthur Rubinstein, not typically a name I associate with Beethoven sonatas, appears to have dug this sonata, as he recorded thrice.

Rubinstein's first recording from 1946 starts off with a comfortable and fun Allegro.  No reason to adopt a too strict approach, and why not let the music breathe a bit.  I hate to use the word, but there's a naturalness to the playing.  It just feels right.  As does the just plain fun Scherzo.  Some other pianists bring a more absolute sense of command and tighter playing, but this is 78s era, so it's closer to live.  The Menuetto is fairly old school in approach in the outer sections, quite lovely and somewhat gentle, and the Trio is not quite a barnburner, though it's got pep.  The Presto is rather fiery, rambunctious, and nearly reckless.  Nice.

The 1954 recording is similar in overall conception, but it is slowed down a bit, and though benefitting from more forgiving studio conditions, has a couple places where one might wish for tighter playing.  One might also think the outer sections of the Menuetto are too beautifully played, but then one might think, nope, that's silly, it's wonderful.  Overall, this recording is a step down qualitatively.   

The 1976 recording, issued twice, comes from an era when Daniel Barenboim waged war on sighted fans by wearing seizure-inducing jackets.  Rubinstein takes the opening Allegro at a very pastoral sounding Andante tempo, playing carefully.  The Scherzo still has enough pep to satisfy, and the very careful Menuetto holds together slightly better than the '54 recording.  The Presto is quite fine.  Overall, this is a bit better than the '54, but not as good as the '46.

[Brian]

Oh, f@!& yes! 1. Welcome back, 2. Great idea, and 3. AND using my favorite sonata with a one- or two-digit opus number*. I might try to follow along only slightly less obsessively.

*Well maybe. Probably.

Btw I got the Great Big Casadesus Box. It has two copies of CD 24 and no CD 23 (both from the mono Debussy series). Grrrrr   

[Todd]

Like me some Frenchified Beethoven.  Yves Nat's cycle has some gems in it, and this recording is quite nice.  Nat takes the Allegro at a most sensible tempo, and he knows when and how to use sforzandi for effect, bringing out the obvious humor in the chord outbursts.  Nat brings to bear his wide ranging dynamics and fine sforzandi to the Scherzo, and his rhythmic sense is mighty keen, too.  Nat plays the Menuetto at a fast overall clip, yet manages to keep it from sounding rushed, and the Trio sounds rather fierce, reinforced by Nat's grunting.  The Presto ends up a just right blend of all ingredients.  A corker of a recording.   

[André]

I will be following this thread with much interest  .

[Todd]

Stewart Goodyear.  Extremely lean, fairly light, supremely well played.  Dig that Alberti bass in the Allegro.  At no time is there any excess weight; it's groovy fun.  The Scherzo, too.  I guess I can whine that the chord outbursts are only 89.317% as loud as I'd prefer.  Goodyear may push the Menuetto forward just a bit too much.  Maybe.  The Presto, though, while pressed a bit, is so much fun and so well executed, that it cannot be resisted.

[JBS]

I really ought to get Goodyear's set off the wishlist and into the shopping cart....

May I ask if you are listening to these pianists in any sort of order? Or are you just reaching into the pile and randomly picking one out each time?

[Todd]

May I ask if you are listening to these pianists in any sort of order? Or are you just reaching into the pile and randomly picking one out each time?

It's random.  I'm thinking of doing some subsets within the whole, grouping pianists by non-musical traits (eg, nationality), but each artist selection is and will remain random.

In cases where a pianist recorded multiple versions, I will listen in chronological order.

[JBS]

It's random.  I'm thinking of doing some subsets within the whole, grouping pianists by non-musical traits (eg, nationality), but each artist selection is and will remain random.

In cases where a pianist recorded multiple versions, I will listen in chronological order.

Thanks. I will follow this with interest.
I will leave it to you to decide if you want to claim a finder's fee with Mr. Goodyear for the whatever royalties he might receive from the set I just ordered.

[jwinter]

I will be following this thread with much interest  .

Seconded!   

[Todd]

Irina Mejoueva.  The overall timing of the Allegro is a smidge broad, but that masks some nice variation in tempo.  Also, Mejoueva plays with nice attention to dynamics and some nicely pointed left hand playing, playing the Alberti bass with just right emphasis, while the right hand belts out the musical joke.  Led by the bass, Mejoueva delivers a high energy Scherzo with ample weight and biting fortes.  The Menuetto sounds smooth and lyrical in the outer sections, slow, controlled, and just damn loud in the Trio – in the best possible way.  Excellent!  Mejoueva then launches into the Presto, zipping along, playing with insistent, irresistible forward drive, superb articulation, and a sense of pure, energized fun.  The recording is much better than my memory indicated.  It positively kicks ass.

[Todd]

Hans Richter-Haaser.  While his overall tempi are not wildly different from Mejoueva, and even quicker in some movements like the Allegro, there's less energy, less fun, and less tempo variation.  No one could ever accuse HRH of being a pansy on the dynamics side, though.  The Scherzo displays a bit more pep and tiny hints of mischief.  The Menuetto sounds a bit stiff, but the Presto has Scherzoesque goodness. 

[Todd]

Aurelia Shimkus.  The themed disc starts the Beethoven sonata with a moderately paced Allegro that sounds kind of sleepy.  Shimkus deploys her accenting and rubato to create a nice pseudo-laughing effect, and some of the playing is fun, but it's too staid, and at times it seems a bit unsecure, with the tempo slowing for no musically good reason.  The Scherzo itself is slightly peppier, but not by much.  The Menuetto is comparatively swift in the outer sections and nicely paced and accented in the Trio, but still hum-drum.  Finally, in the Presto the pianist delivers some of the goods, though the heavy pedaling artifacts detract more than a bit.  Not a good version. 

[Florestan]

Seconded! 

Thirded --- but my motivation is very different... 

[Jo498]

I refrain from mentioning that I don't like the title of this sonata (and that the "Tempest" is better despite also having a silly title) because it made such a nice thread title.
Rubinstein apparently loved the piece (I thought there were actually 4 recordings not only 3). While I did not a direct comparison, I also liked the oldest recording probably the best.
Another favorite is Gulda/amadeo.

[Todd]

Bernard Roberts.  Roberts starts the Allegro gently and takes his time at over nine minutes for the movement, but his approach makes the music sound more gently humorous and tonally appealing.  The slow approach to the Scherzo is too slow, though.  The Menuetto is quite lovely in the outer sections, but maybe just a smidge too serious.  No beef with the Trio, nor with the amply energetic and bouncy fun Presto.  A solid performance.

[Todd]

Ichiro Nodaira.  A couple slow chords, followed by nicely accented playing opens the Allegro, which, at 8'30" is neither fast nor slow, and which offers the pianist the opportunity to alter tempi fluidly, though not as much as Mejoueva.  While the movement is peppy and fun, it's also somewhat serious, with a very clearly deliberate approach.  I ain't complaining.  Nodaira then plays a taut Scherzo, with a nearly twitchy tempo and precisely honed dynamic contrasts.  Studied, yes, but very fine.  Very fine.  Nodaira's enthusiastic but discreet vocalizing in the outer sections of the Menuetto demonstrate his commitment to the music, and his expert deployment of dynamics in the Trio reinforces that.  The Presto con fuoco is suitably energetic, clean, studied but fun, and anchored by well-judged left hand playing.  Better than solid.

[Todd]

Melodie Zhao.  Then teenage Swiss miss Zhao starts her Allegro in somewhat pointed fashion, and keeps things tight.  Her articulation of the Alberti bass is most enjoyable and the entire opening movement displays a perky, fun, light energy, and enough little, personal touches to constantly keep the listener engaged.  The Scherzo is plucky as all get out, with more fine articulation and an unerring early Beethoven sound.  This is pure classical era music, with no baggage.  The Menuetto is lyrical but pressed, with a bit of urgency - but not too much - in the left had playing, while the Trio stays light.  More pluck and gobs of energy, and kick-ass left hand steadiness and control are on offer in the Presto.  Here's a very youthful take that holds up well, indeed, better than I recalled.  Now that Ms Zhao is an even bolder twentysomething not afraid to do what she wants, maybe she'll record some more good stuff.

[Todd]

Dieter Zechlin.  I'll just knock out the zeds with Dieter Zechlin, from his bicentennial year cycle.  Zechlin's a regular speed demon, zipping through the Allegro, keeping things simultaneously light and serious.  Zechlin starts the Scherzo off a bit more quietly than expected, though that serves to amplify the dynamic contrasts.  The high energy level keeps things moving along, too.  The Menuetto and Trio are both no-nonsense, and the Presto is of the fast, vibrant variety, with small hints of fun.  Another version that's better than memory indicated.

[Todd]

Anne Øland.  From one of my least favorite cycles.  Øland plays the Allegro at a standard tempo, and she more or less approaches it right, and she has a few places where she approximates laughter and her bass is consistent, but some of the transitions are unusual or off, some accenting ugly or off, and the overall feel is one of too insistent, inflexible forward drive.  The Scherzo sounds more or less standard at the outset, with Øland adding some personal touches, but as the short movement continues, the personal touches start to have a cumulatively damaging effect.  It's rather unique in that way.  The Menuetto and Trio are fairly direct, if kind of tonally unappealing, though the coda is really quite nice.  The Presto is stylistically similar to the Allegro, with fewer obvious shortcomings, though some of the left hand playing just sounds a bit off, a bit unsteady or unstable, though it seems purposeful.  Overall, the sonata is less bad than ineffectively quirky.  Nah, it's still kinda bad. 

[Todd]

A triple shot of Al.  In the Vox recording, Brendel plays the Allegro in a pretty straight forward way, meaning his dynamics and tempo choices are just about right, and his energy level is nice, though the aged sound hampers things a bit.  The playing does sound a bit studied, but it's no biggie.  The Scherzo finds Brendel scampering along the keyboard nicely enough, while the Menuetto is nicely paced if perhaps too serious.  The Presto is nicely accented and pretty fun.  The very definition of middle of the road.  In the first Philips recording, Brendel slows down quite a bit in the Allegro, but that allows him much greater tempo flexibility.  The overall mood is still light, the sound still studied, but the effect more entertaining.  The Scherzo is roughly the same time, but again displays not only more tempo variation, but also more forward drive and a greater sense of freedom.  Brendel goes quick-ish on the outer sections of the Menuetto and slow-ish in the Trio, and plays the whole thing a bit on the serious side, but in the Presto Brendel plays with more energy and drive.  A step up.  The second Philips recording has similar timings and a similar overall approach, but Brendel focuses more on some small details, accentuating some tempo differences, highlighting some accents, and otherwise quirking things up a bit more, though with better focus and sense of purpose than Øland.  This comes home in the Scherzo which sounds superb, and in the Menuetto, Brendel relaxes a bit in the outer sections and tightens up in the trio, to swell effect.  The Presto is less energetic and driven, but some interpretive devices are more exaggerated.  Philips I is the best of the trio, as with the cycles as a whole.