Ol' Ludwig van's Piano Sonatas
Posted by: Todd A on 02 March 2002
Anyway, there is such a tremendous literature. Much of it is unquestionably great. What fan of the piano can be without a good deal of Chopin? It cannot be; one must have music from him. Mozart, Schubert, Liszt, Scriabin? Same thing. For me, though, the solo piano literature ultimately is the domain of Beethoven. No matter what else I listen to, I must return to old Ludwig van regularly. Beethoven represents the apex of solo piano music. His closest rivals - Schubert, Chopin, Scriabin, and, of course, JS Bach* for me - just cannot quite measure up overall. They each produced specific works that equal or maybe eclipse any single work by Beethoven, but taken as a whole, the master from Bonn wins out.
Within his impressive output it is his sonatas that remain the highpoint. The Diabelli and Eroica Variations, as well as the late Bagatelles all show great ingenuity and ability, but the sonatas transcend all other works. The point of all this? Well, there are two. First, for all of you fans of Beethoven's sonatas, what do you rank as your favorites? Second, what are the best recordings in your experience?
Let me move forward by writing that no pianist has conquered all 32 of the works. Annie Fischer comes the closest in her Hungaroton cycle. Then perhaps Schnabel. (Yes, I rate Fischer higher than Schnabel!) In addition to these two cycles, I also own John O'Conor's and Wilhelm Kempff's stereo cycle, the mono cycle not readily available in my area at a price I would pay. All of these pianists offer tremendous, original insights, but none can do everything. Fischer plays in an overtly romantic and serious way, sometimes missing some of the humor or lighter touches. Schnabel appears to have favored playing fast, to the detriment of some of the works. O'Conor is too poetic for his own good sometimes. Kempff lacks the technical ability to really make some works payoff.
The four cycles are not all I have - I have collected a number of discs by other pianists of note in various works and will continue to do so. And I have heard quite a large number of different pianists playing various works on my local classical station. So I will give my specific opinions based on all I have heard.
First up, my favorite sonatas. I do indeed love the early sonatas. The Opus 2 and 10 sonatas are lively and fun. Annie Fischer brings seriousness to these works that while not necessarily stylistically perfect elevate the works to near-masterpiece status. Schnabel is ultimately her only rival here. I actually prefer his rendition of Op 2/2 to Fischer's. Kempff also brings a joyousness to these works so common in much of his playing. He makes them his own. On the strength of so many reviews, I finally caved in and bought Alfred Brendel's last recording of the Op 2 sonatas. He blows the first one. But he redeems himself in the second and third. That sole straggler of the early works - Op 7 - of course has Michelangeli's formidable version as contender, but his perfection must yield to Kempff's joy and poetry.
What of the Pathetique? Well, you know it's good, if somewhat over-recorded. Fischer again trumps all others for me. But Rudolf Serkin and Schnabel both offer rewarding alternatives, the Serkin on an inexplicably cheap Sony "Essential Classics" release. I must say that Kempff lacks the technical ability to bring off the crucial first movement and so blows it. Such an important sonata deserves nothing but the finest interpretations.
Moving rapidly through some of the next sonatas including some fine early-mid sonata performances by Gieseking, of all pianists, (both Op 14 works) and Pollini (Op 26), and the ever popular Moonlight sonata (Annie Fischer's 50's recording on EMI is my favorite here), one arrives at the magnificent Opus 28. I knew before I heard it that Kempff would provide the finest example of this work; it's musical characteristics just scream out for him. He delivers. Beyond this, again Fischer and Schnabel offer greatness.
Then there are the most Beethovenian of Beethoven's sonatas: the Opus 31 trio. Who else could have written these works? Somewhat surprisingly Kempff delivers the goods here. That written I hold Fischer, Schnabel, and Stephen Kovacevich in higher regard. Kovacevich brings out the quirkiness, if you will, better than most others, and delivers them with assured technique. Fischer again brings her inimitable style that challenges Mr. Bishop's, er Mr. Kovacevich's, superior technique. Now these are some works where I would love to hear Gieseking's take.
To the 50's: What does one make of the Waldstein? It is very good, but is it great? Dunno. Anyway, despite widespread critical reservations I like Pollini's more distant approach. Maybe that's what the work needs. Gieseking also brings a distinctly different, less romantic approach in the recent EMI GROC release. Beyond these two, I have always had a fondness for John O'Conor's take, and, once again, Ms. Fischer makes her presence known. It's almost partner - the underrated Opus 54 - should perhaps be recorded more often, and here Annie easily outdistances all other versions I have heard. Ditto the Opus 57. I have now heard maybe 20 versions and Fischer's version is so much better than all comers that I rarely bother to listen to any other recordings. Why bother? The Appasionatta must be passionate. Besides hers, most versions seem timid and limp.
Now to the late works. They do indeed represent the pinnacle of the piano literature, at least for me. While both the Op 90 and 101 are fine works, the final tetrarchy deserve attention. First, the 106. Schnabel blows it, plain and simple. The opening chords are way too fast and out of control. He does recover for the last half of the work, but one must succeed in the entire work. Neither Kempff nor O'Conor seem especially well-suited to this work, either. Poetic playing has its place, just not here. For me that leaves Annie Fischer once again as one of the finest available versions. Her opening is neither too fast nor too slow. Her command of the adagio and concluding fugue are artistically sublime if technically fallible. (Who really cares about technical fallibility?) As good as hers is, two different giant virtuosos offer the better versions. Rudolf Serkin, though almost 70 when he recorded the work, delivers a grand, symphonic conception of the opening and a distant, appropriately unemotive reading of the adagio. Grandeur, power, and insight combine to render a masterpiece timeless. But where he really shines is the fugue finale. He plays it more like a Bach fugue than a Beethoven work. I was initially taken somewhat aback by this approach but have grown to rather enjoy it. Altogether a monumental performance. (At $7 for the disc, you have no excuse not to buy this; it is indeed essential, the Gouldian aspects notwithstanding.) That leaves Pollini. What can I add to the accolades his performance has already received? Not much. Technical perfection married to a timeless vision of the music make this my favorite.
The 109? Well, Pollini and Fischer are especially fine, as you may expect by now. Gieseking, too, delivers a great performance. His is not a powerful, standard Beethoven performance. It is nuanced and "italicized" (to quote Bryce Morrison), but it is insightful and endearing. Kempff makes a tremendous showing as well. Ultimately, Artur Schnabel delivers a performance of such sublime command that he seems to own the work.
And the 110. Again, Gieseking makes a tremendous impact here, as do Pollini and Fischer. The old Austrian, though, seems to have some insight that others do not. This is music making of the highest order.
That leaves the 111. As I listen to my favorite sonatas more frequently, this emerges as a special work. The variations in the second movement seem almost to contemplate life itself. I don't want to seem too irrational, but there is something about this work. Anyway, there is some stiff competition here. Kempff delivers an especially insightful interpretation. He glides along in the second movement, melting time. O'Conor applies a similar amount of poetry but makes you focus on each note as though the next one may deliver the revelation one craves. Schnabel's keyboard wizardry renders and ethereal feeling that is oh so attractive. Annie Fischer delivers power at the start and a sublime conclusion. The 27 or so minutes seem to pass in a few moments of visionary brilliance. And Pollini. It is as if he is playing a work devoid of sentimentality and emotion and filled solely with spiritual insight. It really is quite remarkable. I can proclaim no favorite here; this work defies such limitations.
Anyway, for those who have read this much of this perhaps self-indulgent survey of these works, your input is indeed desired. I have a voracious appetite for these works and will collect many more versions of most or all of the works over time. I am looking at a 3 CD set of Serkin doing other works on Sony, as well as the late works by Charles Rosen and another full cycle by Barenboim (the 60s EMI set). As Pollini continues to release sonatas I will continue to buy them. But what else to consider?
* At some point I may revere Bach more than Beethoven. I find myself increasingly attracted to his keyboard works. I don't know what it is other than to say they may be perfect.