Beethoven's last piano sonata. Op.111

[waldo]

I'm a great admirer of Pollini, but I find his late Beethoven sonatas a bit didactic-sounding. I would really like to hear them played well on a piano of the time but I haven't been convinced by any such recording I've heard as yet.

It is by no means a "piano of the time", but Schiff has recorded Opus 111 on a 1921 Bechstein. It comes as part of a 2-disc set on ECM, which includes 2 recordings of the Diabelli Variations (one on the Bechstein, one on a fortepiano).........Highly recommended. I play it often, even though I am not, in general, all that keen on Schiff. Something about his sense of timing, especially in Baroque music, just throws me off a little.

Anyway, though not a fortepiano, the Bechstein has much in common, at least in terms of tone and timbre: you get that characteristic fortepiano warmth and a clear difference in tone between the various registers. There is also a slight hint of woody twang in the middle register........

If you are after a good fortepiano recording, but haven't found one yet, this might be a decent alternative until the real thing comes along.

[Bryn]

The work is indeed utterly extraordinary even by the exalted standards that Beethoven had already set imself by the time that he wrote it.

Of the many fantastic performances - Pollini and Michelangeli included - here's one that might intrigue, its rather silly cartoon appearance notwithstanding: http://www.hbdirect.com/album/229327...en-savage.html ...

Well it arrived today. So far I have only listened to opera 109 and 110. My overall impression is of a pretty perfunctory approach with little subtlety of phrasing, or indeed touch. I will give opus 111 a spin later.

[Barbirollians]

No mention here but Alfred Brendel's digital recording is my modern touchstone - with Solomon and Schnabel .

[Richard Tarleton]

No mention here but Alfred Brendel's digital recording is my modern touchstone - with Solomon and Schnabel .

I love that Brendel recording. I also have Barenboim 1984, and Paul Lewis (whose Diabelli I also admire).

[verismissimo]

... and Paul Lewis (whose Diabelli I also admire).

On my 'turntable' a lot in recent days, RT.

[BBMmk2]

I love that Brendel recording. I also have Barenboim 1984, and Paul Lewis (whose Diabelli I also admire).

I played that yesterday. Very good it was too.

[Barbirollians]

I love that Brendel recording. I also have Barenboim 1984, and Paul Lewis (whose Diabelli I also admire).

Marvellous record with Op 109 and 110 of equal exalted merit .

[pastoralguy]

This morning, as I turned my radio on circa 06.00 in anticipation of the delights of a day's work looming, I heard a pianist called Anton Dikov playing this wonderful work very well indeed. Even in my bleary eyed state I could tell he was making the most of the works myriad characteristics.

A nice way to start the day!

[pastoralguy]

This work continues to have a strong appeal for me and I've been listening to it repeatedly. Brendel's first Philips disc was on last night and it was excellent, imvho, despite the rather plummy recording. Stephen Bishop is on just now and I do find it very convincing as well as better recorded.

I intend to buy Andras Schiff's ECM recording when funds allow.

[BBMmk2]

I should've said the Paul Lewis. It's one of those recordings that you would never tire of.

[pastoralguy]

I should've said the Paul Lewis. It's one of those recordings that you would never tire of.

I have that set although it's still in its plastic wrapper! I'm saving it for a special occasion!

[gurnemanz]

I was first aware of this work as an undergraduate studying German literature and reading Thomas Mann's novel Doktor Faustus. I remember one of our lectures on Mann was devoted to Wendell Kretzschmar's lecture on op 111, as attended by the novel's protagonist, the student and future composer Adrian Leverkühn.

Interesting blog reminiscence here by someone who must be about the same age me.

[richardfinegold]

I was first aware of this work as an undergraduate studying German literature and reading Thomas Mann's novel Doktor Faustus. I remember one of our lectures on Mann was devoted to Wendell Kretzschmar's lecture on op 111, as attended by the novel's protagonist, the student and future composer Adrian Leverkühn.

Interesting blog reminiscence here by someone who must be about the same age me.

I remember reading that chapter as well. I remember thinking why would the audience sit and hear this lecture under such awful conditions? Then it occurred to me that this scene, in a Baltic town in the late 19th Century, represented what may have been the only time in their lives that these people would get to hear the last movement of Op. 111, which most Pianists of the day still could not play, and which had acquired a nearly mythological status

[mikealdren]

I have that set although it's still in its plastic wrapper! I'm saving it for a special occasion!

Hi PG
It's too good for that, dip in now!
Mike

[pastoralguy]

I see my to have acquired an obsession with this amazing work and am continuing to listen to new recordings of it. At the risk of having my head chewed off, I took the plunge and listened to Schnabel's 1942 New York recording. Alas, I didn't find it particularly enjoyable although I was surprised at how good the recording was.

I will try again but I'm so used to listening to fantastic pianists play it that I find Schnabel's fallibility uncomfortable.