New Pollini
Posted by: Todd A on 08 April 2003
Up until earlier today, I hadn’t bought a new Beethoven CD in over a month. A month! Clearly this was unacceptable. Fortunately, our good friends at Universal Music Group saw fit to release a new CD of Beethoven piano music played by Maurizio Pollini. I just had to buy it, even at full price.
The new disc contains four middle period sonatas – the Opp 54, 57, 78 and 90 sonatas. All good. Hell, all great. How would Maurice fare? I wondered. His last two Schumann discs have been stunners, but his last two Beethoven discs have been mixed. Oh sure, there is always that formidable technique to marvel at, but in Beethoven one craves more. Well, I’ll start by writing that this is more like the Schumann discs than the Beethoven discs. All of the performances are top quality, able to compare with the very best out there.
The disc runs chronologically, and the opening Op 54 is outstanding. This is very much a muscular, powerful interpretation, more like Annie Fischer than Wilhelm Kempff. If you like a softer, more thoughtful approach – a valid interpretive alternative! – then this is not for you. I can’t imagine any Beethoven fan who wouldn’t like it, though. I’ll skip to the Op 78 sonata, here played winningly. If some other pianists are perhaps a little more reflective sounding in this little gem, Pollini makes up for it with his usual awesome playing. I use awesome in the truest sense of the word. Next, the Op 90 begins with what initially sounds like a tentative, detached performance, but about a third of the way into the first movement Pollini’s approach becomes clear. He sort of builds the work up, if you will, and the second movement is expertly played. All in all, the performances easily withstand comparison with your favorite Beethoven ivory tickler. Ultimately, better are available. But not much better. And I suppose that depends on how you define better, really.
That leaves the Op 57, of course. This is the main work. And it is where Annie Fischer reigns supreme. Still. Not even Pollini can beat her. (I cannot think of any recording that can.) Fear not, though, this is a great performance. The opening movement builds tension nicely throughout. The second movement is probably the interpretive highlight, with Pollini very much playing this straight through in a far more insistent style than is the norm. The finale is technically precise, as one would expect, and given to controlled outbursts. This is a very intellectual performance: Pollini plays the piece as though he thinks this is how the Appassionata should be played passionately. This is not faint praise. If Annie still wins my heart, Pollini’s performance can compare to, oh, say Rudolf Serkin or Claudio Arrau. It is a great performance.
But wait: there’s more! A bonus disc containing concert performances of the Op 78 and, ahem, the Op 57 are included. The concert was apparently given around the same time that the main disc was being recorded. The Op 78 seems a little more detached than the studio recording, but is fine all the same. The Appassionata is breathtaking. This is quite simply a stunning performance that bests the studio performance. The intellectual restraints are gone. The opening is intense and moves along with graceful power. The second movement is as insistent and impressive as the studio recording. The finale is breathtaking. Pollini attacks the keyboard (as is evidenced by the occasional mechanical noise) and holds nothing back. The coda is dizzying. His command awesome. This performance alone is worth full price. Ultimately, Annie is still better, but I’m hard pressed to think who else is. If a better piano recording comes along this year, I’ll be (somewhat) surprised. (I say somewhat because Murray Perahia’s recording of the last three Schubert sonatas is due next month.) A warning for Herman: there are a number of audible groans and some humming. I know how you hate that.
According to the DG web-site, this is the beginning of a new, complete Beethoven cycle. If that is true, and the rest of the recordings are of this quality, the set will be amazing. Combine that with Pollini’s upcoming recordings of the first book of Bach’s 48, the complete Chopin Nocturnes, more Stockhausen, and Gaspard de la nuit, and Pollini fans will enjoy riches over the next few years!
Oh, sound is very good if not the best around.
The new disc contains four middle period sonatas – the Opp 54, 57, 78 and 90 sonatas. All good. Hell, all great. How would Maurice fare? I wondered. His last two Schumann discs have been stunners, but his last two Beethoven discs have been mixed. Oh sure, there is always that formidable technique to marvel at, but in Beethoven one craves more. Well, I’ll start by writing that this is more like the Schumann discs than the Beethoven discs. All of the performances are top quality, able to compare with the very best out there.
The disc runs chronologically, and the opening Op 54 is outstanding. This is very much a muscular, powerful interpretation, more like Annie Fischer than Wilhelm Kempff. If you like a softer, more thoughtful approach – a valid interpretive alternative! – then this is not for you. I can’t imagine any Beethoven fan who wouldn’t like it, though. I’ll skip to the Op 78 sonata, here played winningly. If some other pianists are perhaps a little more reflective sounding in this little gem, Pollini makes up for it with his usual awesome playing. I use awesome in the truest sense of the word. Next, the Op 90 begins with what initially sounds like a tentative, detached performance, but about a third of the way into the first movement Pollini’s approach becomes clear. He sort of builds the work up, if you will, and the second movement is expertly played. All in all, the performances easily withstand comparison with your favorite Beethoven ivory tickler. Ultimately, better are available. But not much better. And I suppose that depends on how you define better, really.
That leaves the Op 57, of course. This is the main work. And it is where Annie Fischer reigns supreme. Still. Not even Pollini can beat her. (I cannot think of any recording that can.) Fear not, though, this is a great performance. The opening movement builds tension nicely throughout. The second movement is probably the interpretive highlight, with Pollini very much playing this straight through in a far more insistent style than is the norm. The finale is technically precise, as one would expect, and given to controlled outbursts. This is a very intellectual performance: Pollini plays the piece as though he thinks this is how the Appassionata should be played passionately. This is not faint praise. If Annie still wins my heart, Pollini’s performance can compare to, oh, say Rudolf Serkin or Claudio Arrau. It is a great performance.
But wait: there’s more! A bonus disc containing concert performances of the Op 78 and, ahem, the Op 57 are included. The concert was apparently given around the same time that the main disc was being recorded. The Op 78 seems a little more detached than the studio recording, but is fine all the same. The Appassionata is breathtaking. This is quite simply a stunning performance that bests the studio performance. The intellectual restraints are gone. The opening is intense and moves along with graceful power. The second movement is as insistent and impressive as the studio recording. The finale is breathtaking. Pollini attacks the keyboard (as is evidenced by the occasional mechanical noise) and holds nothing back. The coda is dizzying. His command awesome. This performance alone is worth full price. Ultimately, Annie is still better, but I’m hard pressed to think who else is. If a better piano recording comes along this year, I’ll be (somewhat) surprised. (I say somewhat because Murray Perahia’s recording of the last three Schubert sonatas is due next month.) A warning for Herman: there are a number of audible groans and some humming. I know how you hate that.
According to the DG web-site, this is the beginning of a new, complete Beethoven cycle. If that is true, and the rest of the recordings are of this quality, the set will be amazing. Combine that with Pollini’s upcoming recordings of the first book of Bach’s 48, the complete Chopin Nocturnes, more Stockhausen, and Gaspard de la nuit, and Pollini fans will enjoy riches over the next few years!
Oh, sound is very good if not the best around.