Alfredo Perl Plays Beethoven

Posted by: Todd A on 02 July 2005

Yes, another cycle. I’ve been aware of this long-box for years, but never got around to buying it. It’d be around, I thought. But when I started looking around the web recently, the cheap ($50 for 10 discs) set was impossible to find. It appears that Oehms snagged the rights to the recordings and now sells them at a higher price – about 75 Euros. (Perhaps the Oehms set is a new cycle, too; I don’t know. Anyone?) I remembered seeing the Arte Nova box at the local CD hut, so when last I went shopping I kept my eye out. ‘Twas there. I bought it.

Remarkably unremarkable. That’s the best way to sum up the first sonatas. Perl offers little to nothing in the way of interpretive idiosyncrasy; he opts to let the music speak for itself. That’s not to say that he plays in a cold, analytical way, but rather that those insights he offers are subtle and at the service of the music. As such, at least with the Op 2 sonatas, there’s precious little to comment on. Slow movements are slow and fast movements are fast. Nothing is exaggerated. Nothing is underscored. Everything is just direct, clean, and refreshing – the musical equivalent of a glass of fresh, cold water. Okay, he does allow himself a bit of leeway in the final movement of the second sonata, playing some of the music with just a tad of (attractive) thickness and slowness, but it’s subtle. His individuality starts to peak through just a bit more in the third sonata, where two things become evident. First, he doesn’t rush the music. He takes his time and lets it unfold. At over 28’, this is a long recording of this work, yet it never sounds sluggish. That’s because of evident item number two: Perl has a spiffy rhythmic sense. Even in the Adagio, which he plays with a bit more heft, richness, and foreshadowing of later Beethoven than may be the norm, he maintains a nicely sprung sound. No, he can’t quite match the nearly peerless Gulda, but Gulda’s the only pianist in my recent listening who bests him here. Perl brings out some more playful elements in the Scherzo and final movement as appropriate, but to an extent, even with his now identifiable traits, his playing is about the music first and the pianist a distant second.

The Op 7 sonata merely reiterates this. The opening movement is played swiftly, with a great deal of brio, as it should be. Perl’s rhythmic sureness generates a nicely groovy feel, and makes for one finely played opener. The second movement is definitely taken at a Largo pace, and even though Perl doesn’t shy away from spending his time on the movement, his sense of rhythm cannot be hidden. How does he make the movement keep such a nicely rhythmic feel? Dunno. I just like the result. The last two movements show off his strengths well and really animate the piece. Perhaps something else shows up, too: Perl is, by and large, serious. While lighter moments appear, and softer playing is to be heard whenever and wherever appropriate, this is some serious business. I like my Beethoven serious. That just helps out this young pianist’s cause.

The three Op 10 sonatas more or less continue on as the preceding works. The last of the sonatas highlights Perl’s penchant for occasional slowness, especially in the Largo. A few times he just brings the whole thing to a stop, craftily utilizing pauses. The Adagio to the first of the bunch is slow – but not as slow, as one would hope, though it displays many of the same traits as well as some drama. The lighter, quicker movements all come off very well. One is reminded that not all of the swift music needs be pounded out at high volumes; Perl uses a varying touch, sometimes playing with strength, other times with a supple touch, but the one constant is that it feels right. Whether one considers the delightful little Presto ending the F major or dashing and delightful Prestissimo ending and brisk, athletic opening to the C minor, or, well, anything, everything just seems right. No flash, no undue seriousness, no out of place humor. It’s just solid playing.

The Pathetique again continues on with the strengths of the earlier works, but adds a bit of flexibility to the mix. If his interpretation is not the most passionate and strongest out there, Perl still delivers a forceful reading with some remarkably alert, nimble playing, and he accomplishes this without a hint of strain or bang. The opening movement flies by with superbly articulate runs and exciting crescendos as does the finale, and the middle movement offers a nice bit of contemplative rest, as it were. Others go deeper, and some are too melodramatic, but Perl plays it as an essentially early piece, which it is; this is not cut from the Eroica cloth. It pre-dates it. I remember this sonata being good, and now I can confirm it.

The two Op 14 sonatas continue the winning streak to ten straight. The first sonata is fast and sprightly, perhaps just a tad too much so in the Allegretto second movement. But any quibbles are minor. Perl’s playing is light enough and fun enough and really animates the piece. The G major sonata is something else, though; it is a masterly reading, or almost one. From start to finish this recording is all about charm, and Perl brandishes a nicely flexible and rounded tone, and jettisons the seriousness for a bit. No, he’s not nonchalant, and he’s certainly not sloppy, but he plays with controlled tempi and nicely restrained but obvious enthusiasm. The opening is pure delight, and the following Andante is an adroit mix of charm and beauty and winking wit. The concluding Scherzo caps it all off. This is a winner, and perhaps the strongest recording of the set thus far.

So, another fine cycle is under way. Perl may lack the flash of some, the power of others, or some other traits that people crave; I can think of more poetic readings, more virtuosic reading, more aggressive readings, but I can think of no set of the first ten recordings that are this straight-forward and unaffected. That’s not to say that Perl plays in a boring or pedantic manner, but just that he obviously enjoys the music and has enough trust in Beethoven’s music to let it be the sole focus. Perl has his unique traits, but they’re of secondary importance. As to sound quality, these recording reveal their vintage: they are from the early 90s and on a budget label. They can sound a bit glassy at times, and lack some warmth. They also sound a bit more distant and resonant than I prefer, but overall the sound is much more than acceptable. I certainly hope the rest of the cycle is this good.

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Posted on: 03 July 2005 by pe-zulu
The Oehms-set is not a new recording. When Oehms left Arte Nova, he retained the copyrights to some of the Arte Nova recordings, and began releasing these in his own name.

Regards,
Posted on: 04 July 2005 by Todd A
Starting back up with the Op 22 sonata finds Perl in fine form. His no-nonsense approach keeps everything moving along nice and briskly and with just the right amount of enthusiasm. If perhaps he finds a bit less depth than others in this not-so-deep-anyway work, that’s quite alright. In some ways it reminds me of Gulda’s enchanting take, though Perl is not quite so quick and agile. Still, this continues his string of hits.

The Op 26 sonata fares very well, too, though here his lack of significant insight hampers things just a bit. The first two movements are largely as they should be. Perl plays straight and strong and offers enough dynamic and tonal contrast and excitement to get the job done. The funeral march, though, is a bit pedestrian. It’s not especially moving or funereal, and it doesn’t offer the Heidsieck alternative of a rousing march. So it’s a bit too much on the plain side. The concluding movement is more in line with the opening two movements, and as such the piece closes on a strong note.

The two Sonatas quasi una fanstasia offer a mixed bag. The first of the two is the less impressive. While Perl’s rhythmic sureness and agile fingerwork bring plenty to the second and fourth movements, the first and third movements are just a bit too slow and don’t really evoke any fantastic or even quasi-fantastic elements. The playing is downright strait-laced. The Mondschein is much better. If Perl doesn’t ride the sustain pedal enough to create a suitably hazy melancholy, he does create a more dreamy sound world – and not one of pure happiness. The second movement is strongly characterized and is a fine bridge to a very strong conclusion. Perl plays with strength and precision and a pronounced and just right rhythmic oomph lacking in the last couple cycles I’ve listened to. Here’s an example of how to bring the conclusion to life without overdoing it, a lesson Kovacevich obviously has not learned. It’s even better than I remember it.

The Pastorale ends up being three-fourths superb and one-fourth not. To the not as superb part first: the Andante second movement is played just a bit too slowly, sounding more like an Adagio. There’s a somewhat labored and contrived feeling at times that drags. That’s a shame, because the other three movements are all quite good. Perl’s rhythmic sureness again comes through, and he plays the opening movement in a nicely relaxed way and the two concluding movements benefit from all of Perl’s strengths. All told, this is a very good reading, but it cannot compare with the best.

The critical Op 31 sonatas carry on in pretty much the same fashion, but that means that they also sound a bit too conservative at times. The first of the group is just not playful enough in the outer movements, and the second movement is slightly marred at the outset with some rather coarse sounding trills. Perl keeps everything moving along nicely enough, and plays with enough enthusiasm, but this work demands more individuality and risk taking. The Tempest sounds much better. Perl plays with striking contrast in the tumultuous opening movement, and he shows that he can play with great power and richness. The second movement shows off his ability to play slowly and still maintain both a rhythmic pulse and the musical line. A few pianists stumble here, but not Perl. The conclusion is very strong and basically makes this sonata the highlight of the trio. The final sonata is nearly as good. Perl definitely shines in the delicious Scherzo and the delightful close. Perl never abandons his generally serious approach, but he does lighten up just a tad at the right times here. These are not great recordings, though, so, for me, that precludes this from being a great cycle. But after eighteen sonatas, it’s clear that there is nonetheless a lot to enjoy in this straight-shooting (almost to a fault) set. It will be interesting to hear if such a strait-laced style succeeds as well in the upcoming works.


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Posted on: 05 July 2005 by Todd A
A mere handful of sonatas got off to a good, solid, if not quite Heidsieckian start with the Op 49 sonatas. Perl again plays with seriousness throughout, though he never plays in a heavy-handed way. While I can’t say that his recordings really make the works sparkle, they’re still enjoyable.

The Waldstein is of sufficient stature and quality to be a make or break work. Perl makes it. All of his previously mentioned traits are again present, and if perhaps that makes for a reading that lacks the overt emotionalism or visceral virtuosic excitement of other readings, there are still nice things to hear. The final movement, in particular, has some of the most delectable gentle playing I’ve heard in the piece. Perl is not afraid to be soft ‘n’ gentle, and this contrasts with some powerful crescendos. Another nice feature is how he can build up a massive climax without resorting to unduly speeding up the work; he can and does play powerfully with a measured tempo.

The Op 54 is a highlight of the cycle. Here Perl adopts an almost Kempffian style (though his delivery is markedly different). He plays lyrically, with measured tempi, and gentle yet clear articulation. He sees no need to rush or play strongly, preferring instead to let the music almost sing. In the second movement, near the end, rather than gradually build-up to a strong conclusion, he restrains himself, playing more softly, though he does end with an impressive flourish. Superb.

The last sonata for the evening was the Appassionata. Basically, he plays in a style similar to the Waldstein in many regards – powerful passages with measured tempi; nicely soft playing as needed – though with a bit more passion. Granted, when compared to, say, Annie or Richter or Kovacevich, he doesn’t quite muster up a high level intensity, but he makes up for it by always playing in a controlled fashion. The outer movements boast some very strong, rich, deep playing to tickle one’s ears. A good, solid reading, if not quite top notch.

So, Perl’s is emerging as a good, solid cycle. That is not meant as faint praise. There is no doubt at all that one is listening to music from the master from Bonn. That’s high praise in my book.


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Posted on: 06 July 2005 by Todd A
A night of only winners! The Op 78 and 79 sonatas are both played with Perl’s no-nonsense style, and both sound quite fine. Okay, perhaps 78 misses just a tad in the depth department, but 79 benefits from a uniformly brisk and upbeat approach that treats the work as a trifle, albeit a trifle by Beethoven.

The Les Adieux is, in many respects, a repeat of the Waldstein. The same traits and approach inform the playing, and once again Perl can make the piano swell to near-orchestral proportions, especially in the last movement. He also breaks out some nicely soft playing, too. Perl’s playing isn’t as emotionally demonstrative as some others muster, but the basic pattern of a sorrowful but expectant goodbye, quiet rumination, and exultant joy is basically adhered to. Overall, this is a most satisfying version and one of the highlights of the set.

Nearly as good is the Op 90. Playing with just the right tempi and dynamics, Perl opens in lyrical yet (slightly) driven style. Though I don’t usually think of this as a virtuosic piece, Perl puts on a rare display of digital dexterity about midway through with some sparkling right hand runs. The second movement continues the strong ‘n’ lyrical approach, and if ultimately a number of other (including the sometimes barbarian Kovacevich) do better, this is still a winner.

The best work of the night was unquestionably the 101. This is a quite remarkable performance. Here, Perl’s still straight-ahead approach seems to work almost unexpectedly well. Rather than trying to impart some incomprehensible gravitas to the piece, his unaffected reading, though one with some powerful playing in the outer movements, simply serves the music. No idiosyncratic touches are needed to make it work. Perhaps a little more nuance in the slower passages would have been welcome, but this is a rousing version, I tell you. My first taste of Perl’s late Beethoven has been pleasing; I’m hoping for something even better tomorrow.


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Posted on: 08 July 2005 by Todd A
Perl faces stiff competition in the late works. Here, only the best will do, and the standard is impossibly high. Perl does pretty well. The Hammerklavier benefits the most from Perl’s approach. Never at any time does the piece become bogged down, too heavy, too melodramatic, too dense, or too long. The two opening movements are vigorous and well articulated, and the opening movement has that quasi-orchestral feel to it. The great Adagio is generally well played, with only one not so well judged pause to mar it, and some less than top-flight, what, philosophical or spiritual playing to make it less than it could be. The concluding movement is generally well played being at least as vigorous as the opening movements, though it is less than ideally clear at times. A world beater it may not be, but it’s worth a few more whirls.

Both the 109 and 110 are approached in similar overall fashion, though obviously both sound appropriately different. Both suffer from some slightly gruff playing in their respective fast second movements. Both have some nicely done concluding movements, with the variations of 109, in particular coming in for some fine treatment. The concluding movement to 110 is more varied, with a solid fugue but some less impressive playing in the more delicate and slower passages. Perl isn’t bad – not at all – it’s just that the best versions of this work offer more. Overall, both are like much the rest of the cycle: solid, well done, and direct.

The 111 is much better. Perl injects his normal playing style with a bit more passion and the results are striking. While he still avoids interpretive excess, he plays strongly and with unique accents and little touches. The first movement has some very strong, deep playing, the heavy duty chords sounding that way without ever veering close to being overdone. The second movement is also very good. The Arietta is very nicely done, and if perhaps the passages immediately after it may be a bit slow for some tastes, Perl picks up the pace and offers some more (semi) dazzling playing. A few times toward the end the piece may lose its focus, and if Perl’s playing doesn’t evoke the deepest thoughts or sublime images of Elysian fields, it is still excellent, and one of the better versions of the versions I’ve heard recently.

With the Diabelli Variations, one gets more of Perl’s Beethoven. Largely direct and firm, his playing suits the quicker variations better. Especially noteworthy are the 10th, 17th, and 18th variations; all are delivered with zeal and enthusiasm. Some of the slower movements do fare well. The Fughetta is nicely done, and the 31st Largo is nicely rendered. Perl certainly outdoes Yokoyama in my book; Perl’s playing is more unified and purposeful and he stays focused throughout. That written, he doesn’t come close to Rudolf Serkin’s masterly reading, which remains my favorite.

So, another cycle down, and it’s a success. Perl is consistent and plays at the service of Beethoven throughout. I can’t say this is a great cycle, but it is a decidedly enjoyable one. Indeed, if it were still readily available at its Arte Nova price, I’d recommend it to a Beethoven newbie without hesitation. Flash and idiosyncrasy it may lack, but it is not lacking in superb musicianship. Perhaps most promising is the fact that Perl was in his late-20s and early-30s when he recorded this. (Yukio Yokoyama was quite young, too, but I gotta say that Perl is definitely my choice between those two. Of course, Friedrich Gulda’s Decca cycle was recorded when Gulda was young, but Perl is not quite in Gulda’s league.) Maybe he’ll get to record the works again. Until then, I’m definitely happy with this set.


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