Yet Another Beethoven Piano Sonata Cycle
Posted by: Todd A on 16 January 2003
I determined that I needed a new complete cycle of Beethoven's piano sonatas, the five I currently have not quite being enough to satisfy my interest in these works. What to buy? Well, Music & Arts recently reissued Claude Frank's 1971 RCA cycle on 10 CDs for the hefty price of $50. I decided to take the plunge.
The liner notes state that Frank was a student of both Schnabel and Serkin, and it shows. His playing displays both Schnabel's rythmic nimbleness and Serkin's classical restraint. Add a nicely poetic touch, and this would almost seem to make him perfect in Beethoven. Good. Very good. Occasionally great. But not perfect. Of course, no one is. (Well, maybe Annie Fischer.)
I won't go into detail on each sonata, but I will say that, in general, this is an extremely fine set that offers (me at least) a fresh look at Beethoven's music. So what are the highlights? Well . . .
The Opus 26 sonata is a great performance. The funeral march is actually funereal here, and is informed by Chopin. Frank does not make it sound like Chopin, but there's a gravity to the playing that is very effective. The other movements are all as finely played. This could be the finest recording of this work I have heard.
Opus 101 comes off much better here than in any other recording I have heard. It is both musical and rythmically assured, in contrast to the somewhat choppy sound I sometimes here, especially in the first two movements.
The Opus 31 sonatas all come of wonderfully, Frank revelling in the humor and utterly Beethovenian sound. The first of the set holds a special place for Frank, as he cites as a work that helped him escape occupied Europe. (More information is in his essay). The second may not be the most tempestuous around, but the concluding movement is brought off just fine.
The Opus 10 sonatas are where I sat up and took notice of Frank when winding through the set. Whereas the first four sonatas are crisp and clean, they were not particularly inspired. These there gems were. He manages to pull off the extremely fast opening to the first sonata that neither Kovacevich nor even Schnabel were quite able to do. The third sonata in the set is sheer delight.
Other highlights include the Opp 14, 27/1, and 78 and 79 sonatas.
Not all of the sonatas are as succesful. The Moonlight has been more perfectly realized, the late sonatas more profound, and the Appassionata more passionate. (No one can touch Annie Fischer here.) But none really disappointed.
Altogether, this makes a welcome addition to my collection, and at its price it is an embarrassingly good deal. Keep it in mind if you need or want a new set.
The liner notes state that Frank was a student of both Schnabel and Serkin, and it shows. His playing displays both Schnabel's rythmic nimbleness and Serkin's classical restraint. Add a nicely poetic touch, and this would almost seem to make him perfect in Beethoven. Good. Very good. Occasionally great. But not perfect. Of course, no one is. (Well, maybe Annie Fischer.)
I won't go into detail on each sonata, but I will say that, in general, this is an extremely fine set that offers (me at least) a fresh look at Beethoven's music. So what are the highlights? Well . . .
The Opus 26 sonata is a great performance. The funeral march is actually funereal here, and is informed by Chopin. Frank does not make it sound like Chopin, but there's a gravity to the playing that is very effective. The other movements are all as finely played. This could be the finest recording of this work I have heard.
Opus 101 comes off much better here than in any other recording I have heard. It is both musical and rythmically assured, in contrast to the somewhat choppy sound I sometimes here, especially in the first two movements.
The Opus 31 sonatas all come of wonderfully, Frank revelling in the humor and utterly Beethovenian sound. The first of the set holds a special place for Frank, as he cites as a work that helped him escape occupied Europe. (More information is in his essay). The second may not be the most tempestuous around, but the concluding movement is brought off just fine.
The Opus 10 sonatas are where I sat up and took notice of Frank when winding through the set. Whereas the first four sonatas are crisp and clean, they were not particularly inspired. These there gems were. He manages to pull off the extremely fast opening to the first sonata that neither Kovacevich nor even Schnabel were quite able to do. The third sonata in the set is sheer delight.
Other highlights include the Opp 14, 27/1, and 78 and 79 sonatas.
Not all of the sonatas are as succesful. The Moonlight has been more perfectly realized, the late sonatas more profound, and the Appassionata more passionate. (No one can touch Annie Fischer here.) But none really disappointed.
Altogether, this makes a welcome addition to my collection, and at its price it is an embarrassingly good deal. Keep it in mind if you need or want a new set.