Paul Badura-Skoda Plays Beethoven
Posted by: Todd A on 01 October 2005
Ah, serendipity – it can be downright serendipitous! Earlier this week, whilst picking up András Schiff’s disappointing first installment of his LvB sonata cycle, I happened upon a used copy of Austrian pianist Paul Badura-Skoda’s first complete sonata cycle. This cycle was recorded by the Austrian label Gramola in 1969 and 1970 to commemorate Beethoven’s bicentenary. To keep with an all-Austrian theme, a Bösendorfer Imperial Grand was used for the recordings. The set was remastered and reissued in 2002. But how is this particularly serendipitous, you may be wondering? Well, on the evidence of the first seven sonatas, PBS’ playing is largely the antithesis of Anton Kuerti’s; that is, while certainly far from being devoid of personality and insight, it lacks the eccentricities that that other Austrian (or at least Austrian-born) pianist brings to his playing. So now I get to listen to two experienced pianists play the same music at the same, and as an added bonus, the two cycle were recorded relatively close together (the Kuerti is from ’74-’75), so I get to hear to roughly contemporaneous views on the music. How will the sets differ, how will they be similar, and which will I prefer overall? All these questions – and more! – shall be answered forthwith.
From the opening bars of the first sonata, it is abundantly clear that PBS plays in a much more direct fashion. It’s also clear that he favors swifter tempi overall. The energetic open to the Op 2/1 sonata is brisk, lively, clear, clean, and unfettered by mannerism; it’s fluid and rhythmically snappy and fun. As an added bonus, the Bösendorfer low-register adds a bit more heft than normal. The Adagio sounds appropriately gentler, though it’s not soft, per se. I could have done with a bit more tonal beauty, but the playing is undeniably involving, with each note and chord there to savor. The Menuetto here comes off as perhaps a bit more serious than one may want – and seriousness permeates the first seven sonatas – but it all sounds so proper and right. PBS plays the concluding Prestissimo in fiery, driven, and exciting fashion right through to the end. Nope, none of Kuerti’s idiosyncratic rubato and phrasing is to be found anywhere.
The same holds true in the second sonata. The opening Allegro is spirited and light, but also quite earnest. PBS announces his individuality with some uniquely accented notes and phrases, but he never makes the interpretive devices the center of attention. Some of the playing is not ideally tight, though, but one wonders is part of that is due to the sound of the Bösendorfer. (More to follow soon.) The Largo opens somewhat somberly and with a rich, “big” sound; this ain’t no dainty late-18th Century sonata! The not-too-slow overall tempo is interrupted in the middle section by some rhythmically sprung, lively playing. The Scherzo opens with a pithily dispatched ostinato figure (with some nice Bösendorfer low register sound!) that eventually leads into a middle section of some urgency and bite. Is it a Scherzo, or something more serious? The concluding Rondo is taken at a nice, somewhat relaxed overall tempo and flows quite nicely.
Moving to the third sonata, one finds PBS opening the work in quick, fiery, and youthful fashion; the piece sounds a bit uncouth at times. Maybe even reckless. This is emphatically not deep, profound late Beethoven. But it’s definitely fun. The sound of the Bösendorfer begins to become something of an item to consider in itself. In addition to the welcome extra low register weight, the piano sounds a bit pingy and metallic – at all volumes – but when the playing moves into forte and above, the sound acquires something of an amorphous, slightly unclear and undifferentiated sound. It’s as though there’s a great mass of sound is coming at the listener. It’s not unpleasant in itself, but it detracts a bit because of the lack of ideal clarity. Anyway, back to the music. The Adagio opens in suitably lovely fashion, with a gently rocking second section punctuated by weighty fortissimo crashes. The Scherzo is meaty and weighty, though the seriousness does stomp out some of the humor in the music. The concluding movement is lighter and more playful – and youthful – and has some nice rhythmic snap to it. Overall, the opening trio fares quite well.
I’ve noted before how I tend to favor a more “pastoral” approach to the Op 7 sonata, though a bigger, more heroic conception can be fabulously successful when played just right. I was wondering which of these approaches PBS might take. Neither, it turns out. Instead, he forges a new path, and one different from any version I’ve heard. His take is lighter and more youthful, if you will; he doesn’t present this Grande Sonata as especially grand. The opening movement is shorn of heft and heroism and seriousness and becomes quick and playful, with nice articulation. The Largo, taken perhaps at an Adagio pace, is played slightly more seriously, but PBS does not go as deep as some others, and the pauses aren’t given metaphysical meaning. Some may find the playing a bit too exuberant for the material, but within the overall conception, it works. That written, the middle section is more intense. The Menuetto starts and ends with charming, light and quite lovely playing, but the middle section brings something else to the movement: it’s a bit unsettled and darker than the surrounding music. It’s quite an effective contrast. The concluding Rondo – a stormy middle section aside – is elegant, and, not surprisingly, graceful and flows beautifully. Any complaints I may have about this sonata become mere quibbles; PBS’ take is a fresh one, and one I will definitely be returning to again in the future. It’s the highlight of the opening seven.
Moving to the Op 10 sonatas finds a mostly successful trio of works. The first sonata opens with moderate speed and intensity, with the second reappearance being a bit weightier, and the intermediate material being played in a more lyrical fashion. The whole movement alternates thusly, and that Bösendorfer weight just adds to the interest. The Adagio is lovely and a bit restrained, though the ascending runs are wonderfully light and clear and buoyant. The concluding Prestissimo is quick, strong, and upbeat, but here the slightly congested, amorphous sound of the piano does get in the way a couple times. It’s nothing major, though.
The second sonata of the bunch is basically presented as light from start to finish. The fun and simple opening movement, with its eminently enjoyable melody, is played with fine style. Perhaps it’s not as elegant as it could be, but then again, this is youthful Beethoven. The Allegretto is a bit cooler and darker, but it never exactly becomes stormy. The Presto conclusion is played at a nice, relaxed pace (no rushed Prestissimo this), and a few spots of slightly clunky and stiff playing are more than off-set by the inclusion of the repeat.
The seventh sonata offers the nearest thing to a dud in this opening batch. While this sonata is perhaps the most significant and well developed of the first seven sonatas, PBS plays it in a more serious manner than seems warranted. The piece opens with a thick, serious sound, with the thematic material emphatically presented. (I don’t think listeners would miss it, so why the emphasis?) It becomes a bit too serious and stiff at times as a result. The Largo assumes a serious, dark, and notably tragic air, which is fine, but it just seems a bit too much at times. The Menuetto, while nicely played, maintains a too-serious mood. The Rondo, while well played, comes across as something of an afterthought, because it cannot really support such a serious approach. So, while well played, this one didn’t really do it for me.
Finding this cycle proved to be a blessing. Now I can compare two widely different approaches to the same music, and that may help me appreciate each artist’s take a bit more. Of the two cycles, I definitely prefer Paul Badura-Skoda’s thus far. His style and approach are more direct and lighter. To an extent, he reminds me of his fellow countryman and contemporary, Friedrich Gulda. The latter’s style and approach is definitely leaner and more comprehensive and, ultimately, more compelling, but both pianists approach the music in a serious, devoted fashion, and neither one really focuses on stylized interpretive devices in quite the same way Keurti does. Early impressions lead me to conclude that PBS’ cycle is not one of the greats (though I won’t know for sure until all 32 are done), but it’s one I want to hear more of, and soon. Since I’ve already completed the next batch of Kuerti’s recordings, I plan on listening to the same sonatas by PBS and then, after completing my summaries of each pianist’s take individually, I think I’ll do direct comparative listening. It should prove enlightening.
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From the opening bars of the first sonata, it is abundantly clear that PBS plays in a much more direct fashion. It’s also clear that he favors swifter tempi overall. The energetic open to the Op 2/1 sonata is brisk, lively, clear, clean, and unfettered by mannerism; it’s fluid and rhythmically snappy and fun. As an added bonus, the Bösendorfer low-register adds a bit more heft than normal. The Adagio sounds appropriately gentler, though it’s not soft, per se. I could have done with a bit more tonal beauty, but the playing is undeniably involving, with each note and chord there to savor. The Menuetto here comes off as perhaps a bit more serious than one may want – and seriousness permeates the first seven sonatas – but it all sounds so proper and right. PBS plays the concluding Prestissimo in fiery, driven, and exciting fashion right through to the end. Nope, none of Kuerti’s idiosyncratic rubato and phrasing is to be found anywhere.
The same holds true in the second sonata. The opening Allegro is spirited and light, but also quite earnest. PBS announces his individuality with some uniquely accented notes and phrases, but he never makes the interpretive devices the center of attention. Some of the playing is not ideally tight, though, but one wonders is part of that is due to the sound of the Bösendorfer. (More to follow soon.) The Largo opens somewhat somberly and with a rich, “big” sound; this ain’t no dainty late-18th Century sonata! The not-too-slow overall tempo is interrupted in the middle section by some rhythmically sprung, lively playing. The Scherzo opens with a pithily dispatched ostinato figure (with some nice Bösendorfer low register sound!) that eventually leads into a middle section of some urgency and bite. Is it a Scherzo, or something more serious? The concluding Rondo is taken at a nice, somewhat relaxed overall tempo and flows quite nicely.
Moving to the third sonata, one finds PBS opening the work in quick, fiery, and youthful fashion; the piece sounds a bit uncouth at times. Maybe even reckless. This is emphatically not deep, profound late Beethoven. But it’s definitely fun. The sound of the Bösendorfer begins to become something of an item to consider in itself. In addition to the welcome extra low register weight, the piano sounds a bit pingy and metallic – at all volumes – but when the playing moves into forte and above, the sound acquires something of an amorphous, slightly unclear and undifferentiated sound. It’s as though there’s a great mass of sound is coming at the listener. It’s not unpleasant in itself, but it detracts a bit because of the lack of ideal clarity. Anyway, back to the music. The Adagio opens in suitably lovely fashion, with a gently rocking second section punctuated by weighty fortissimo crashes. The Scherzo is meaty and weighty, though the seriousness does stomp out some of the humor in the music. The concluding movement is lighter and more playful – and youthful – and has some nice rhythmic snap to it. Overall, the opening trio fares quite well.
I’ve noted before how I tend to favor a more “pastoral” approach to the Op 7 sonata, though a bigger, more heroic conception can be fabulously successful when played just right. I was wondering which of these approaches PBS might take. Neither, it turns out. Instead, he forges a new path, and one different from any version I’ve heard. His take is lighter and more youthful, if you will; he doesn’t present this Grande Sonata as especially grand. The opening movement is shorn of heft and heroism and seriousness and becomes quick and playful, with nice articulation. The Largo, taken perhaps at an Adagio pace, is played slightly more seriously, but PBS does not go as deep as some others, and the pauses aren’t given metaphysical meaning. Some may find the playing a bit too exuberant for the material, but within the overall conception, it works. That written, the middle section is more intense. The Menuetto starts and ends with charming, light and quite lovely playing, but the middle section brings something else to the movement: it’s a bit unsettled and darker than the surrounding music. It’s quite an effective contrast. The concluding Rondo – a stormy middle section aside – is elegant, and, not surprisingly, graceful and flows beautifully. Any complaints I may have about this sonata become mere quibbles; PBS’ take is a fresh one, and one I will definitely be returning to again in the future. It’s the highlight of the opening seven.
Moving to the Op 10 sonatas finds a mostly successful trio of works. The first sonata opens with moderate speed and intensity, with the second reappearance being a bit weightier, and the intermediate material being played in a more lyrical fashion. The whole movement alternates thusly, and that Bösendorfer weight just adds to the interest. The Adagio is lovely and a bit restrained, though the ascending runs are wonderfully light and clear and buoyant. The concluding Prestissimo is quick, strong, and upbeat, but here the slightly congested, amorphous sound of the piano does get in the way a couple times. It’s nothing major, though.
The second sonata of the bunch is basically presented as light from start to finish. The fun and simple opening movement, with its eminently enjoyable melody, is played with fine style. Perhaps it’s not as elegant as it could be, but then again, this is youthful Beethoven. The Allegretto is a bit cooler and darker, but it never exactly becomes stormy. The Presto conclusion is played at a nice, relaxed pace (no rushed Prestissimo this), and a few spots of slightly clunky and stiff playing are more than off-set by the inclusion of the repeat.
The seventh sonata offers the nearest thing to a dud in this opening batch. While this sonata is perhaps the most significant and well developed of the first seven sonatas, PBS plays it in a more serious manner than seems warranted. The piece opens with a thick, serious sound, with the thematic material emphatically presented. (I don’t think listeners would miss it, so why the emphasis?) It becomes a bit too serious and stiff at times as a result. The Largo assumes a serious, dark, and notably tragic air, which is fine, but it just seems a bit too much at times. The Menuetto, while nicely played, maintains a too-serious mood. The Rondo, while well played, comes across as something of an afterthought, because it cannot really support such a serious approach. So, while well played, this one didn’t really do it for me.
Finding this cycle proved to be a blessing. Now I can compare two widely different approaches to the same music, and that may help me appreciate each artist’s take a bit more. Of the two cycles, I definitely prefer Paul Badura-Skoda’s thus far. His style and approach are more direct and lighter. To an extent, he reminds me of his fellow countryman and contemporary, Friedrich Gulda. The latter’s style and approach is definitely leaner and more comprehensive and, ultimately, more compelling, but both pianists approach the music in a serious, devoted fashion, and neither one really focuses on stylized interpretive devices in quite the same way Keurti does. Early impressions lead me to conclude that PBS’ cycle is not one of the greats (though I won’t know for sure until all 32 are done), but it’s one I want to hear more of, and soon. Since I’ve already completed the next batch of Kuerti’s recordings, I plan on listening to the same sonatas by PBS and then, after completing my summaries of each pianist’s take individually, I think I’ll do direct comparative listening. It should prove enlightening.
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