Time for one of the big ones in this series. This is probably the sonata I have the most recordings of and I'm still acquiring as we speak (I see that there is a Cziffra in his 40 CD box). Off the top of my head I have these recordings of the Appassionata.
Barenboim (EMI), Annie Fischer, Craig Shepherd, Paul Lewis, Solomon (DVD), Ernst Levy, Malcuzynski, Frederick Lamond, Schnabel, Casadesus, Jando, Rubinstein x2 ('45, '63) Gilels x2 (Moscow '61, Studio) Richter x4 (Moscow, NY studio, NY Carnegie Hall live, Prague Live). There may be others but I'd have to check. In the above set are some of the greatest performances ever set down of this work. Notable absences from my collection include Moravec and Fiorentino.
So is your favourite one of these are do you have another preference?
It's no contest here: Annie Fischer is far and away my favorite, with even Richter in his RCA studio recording far behind.
Other fine versions include Serkin's superb 1947 recording, Silverman's large scale reading, Seymour Lipkin's wiry and feisty recording, Pollini's live recording, the great Robert Casadesus in a high speed and satisfyingly intense performance, Badura-Skoda's tense and slightly frenetic reading, and Akiyoshi Sako's no-nonsense take.
I agree that Annie Fischer is remarkable in this Sonata. I had the luck to see her in a concert play this work and it was unforgettable.
To me, Schnabel and Gulda have here one of the weak moments of their recordings.
Backhaus has a very powerful sense of coherence, conceiving the work as a block, with a superb articulation.
I prefer the Richter version in Prague to the one recorded for RCA. It is not as perfect as the studio version but more natural and dramatic.
Rubinstein, powerful, is also remarkable but he was even better in concert. I also had the occasion to see him play this Sonata and, despite his age, he had a fabulous enthusiasm and energy.
Pletnev is plenty hot.
Annie Fischer and I also have a soft spot for Medtner's recording on APR.
Of the versions I own, Arrau (1959 Ascona recital) is my favorite. I also admire the Seymour Lipkin recording that Todd mentions ("wiry and feisty" is exactly right).
Brautigam, my favorite in so much Beethoven, is very good here, but I go straight for his glorious Waldstein when that disc is cued up.
Now I have to hear A. Fischer. (I'm not a huge fan of her cycle overall.)
Off the top my head; Annie Fischer, Richter (studio and live), Gilels (live, green Brilliant Box) and a recent addition - Fazil Say.
Found the A.Fischer "Appassionata" streaming at naxos.com and enjoyed it so much I've just purchased vol. 6 of her cycle (after browsing quickly through the other tracks). Quite possibly opens the door to a greater appreciation of her entire cycle...
Quote from: PaulSC on December 19, 2010, 07:36:25 PM
Found the A.Fischer "Appassionata" streaming at naxos.com and enjoyed it so much I've just purchased vol. 6 of her cycle (after browsing quickly through the other tracks). Quite possibly opens the door to a greater appreciation of her entire cycle...
Congrats! Only Gulda's Amadeo/Brilliant satisfies me as much as her set. Interestingly, neither pianist has been able to impress me in other composer's works nearly as much as they do in Beethoven.
Quote from: George on December 19, 2010, 07:39:41 PM
Congrats! Only Gulda's Amadeo/Brilliant satisfies me as much as her set. Interestingly, neither pianist has been able to impress me in other composer's works nearly as much as they do in Beethoven.
What do you think about Bruce Hungerford, George? Tonight I was listening to him for the first time -it was the
Pathétique- and it has been a devastating experience... he sounds so totally new and unmannered, really impressive.
Quote from: Antoine Marchand on December 19, 2010, 08:21:10 PM
What do you think about Bruce Hungerford, George? Tonight I was listening to him for the first time -it was the Pathétique- and it has been a devastating experience... he sounds so totally new and unmannered, really impressive.
I enjoy his Beethoven, but not as much as I expected to, based on the recommendations I got for him from people whose opinions I respect. I should go back, though, as it's been awhile.
Quote from: George on December 19, 2010, 06:54:28 PM
Off the top my head; Annie Fischer, Richter (studio and live), Gilels (live, green Brilliant Box) and a recent addition - Fazil Say.
Forgot a few (in order): Annie Fischer – Arrau/Richter, Gilels (live), Roberts, Goode, Horowitz, Fazil Say,
Serkin(mono), Nat, Kempff(mono)
Quote from: George on December 20, 2010, 08:45:01 AM
Forgot a few (in order): Annie Fischer – Arrau/Richter, Gilels (live), Roberts, Goode, Horowitz, Fazil Say,
Serkin(mono), Nat, Kempff(mono)
George, what about
Edwin Fischer? :)
Q
Quote from: Que on December 20, 2010, 09:36:37 AM
George, what about Edwin Fischer? :)
Q
Have not heard him yet. I think I have it though. Will check later.
Moravec is still my favored.
Quote from: Que on December 20, 2010, 09:36:37 AM
George, what about Edwin Fischer? :)
Q
Though there are some things I like about his performance, overall I don't enjoy it. I particularly don't like the way he rushes the opening, resulting in clipped phrases and lacking that solemn mystery I enjoy in so many other performances of this great work.
The three recordings which I listen to most are Sofronitsky's 1952 Moscow one, Ernst Levy's and Pletnev's.
Sofronitsky is special in the slow movement. He takes the third movement very fast, but it is brilliantly articulated, so each note keeps its spiritual intensity despite the overall velocity. The result is a combination of melancholy and heroism.
Levy is maybe a bit dense -- he lets the music breath rather less than Sofronitsky or Richter in the first movement. But the phrasing in the first movement is really powerful I think. And in the third movement he finds so much more than the idea of emotional turbulence expressed through great speed.
I think the Serkin 1947 mono recording is basically perfect.
Richter plays allegro ma non troppo too fast, especially on his Moscow recording. But even in his Prague and RCA versions, I think he doesn't find quite as ideal a tempo in terms of tension or menace as Serkin does.
Actually, the reason Serkin's is so good is because he doesn't exaggerate anything--and the last movement opens very fluidly, without banging, and then settles into a slower tempo. Best of both worlds.
I think Annie Fischer takes things in the opposite direction from Richter, over-inflecting her passagework and not inclined to just let the music flow. That's my opinion of her playing in general, kind of melodramatic.
I don't agree that Schnabel is weak here. He has more spontaneous sweep than anyone else I've heard, regardless of his technical deficits. His allegro assai, for example, is amazingly built in its climaxes. I would take him over Richter or Annie Fischer.
Edwin Fischer's recording on the Furtwangler concerto disc is cool but his tempi drag a little and he omits the final repeat. He has a prewar recording which I haven't heard.
I think fortepiano adds a lot to upper register figurations in this sonata, so I like Brautigam, who is straightforward but not underplayed.