Beethoven Appassionata Piano Sonata, Op.57

[richardfinegold]

The recording that I cited by PBS would have dated from the early 1950s. Did he have all of his current thoughts about old vs new Pianos lined up like little ducks in a row back then? Were fortepianos routinely available back then? I know that Harnoncourt was just starting to experiment with period style, but isn't it just possible that as a young musician, PBS would have not had HIPP as part of his training (because who did in the 1940s?) would have played the Appassionata on whatever he was familiar with, began to learn fortepianos at a later time, and now as a mature musician decides what he wants to play on a given day?
I admit that I know nothing of PBS biography. Perhaps he has tapes of Mozart playing stored away in his basement that he only shares in secret meetings with HIPP aficionados who then are able to confidently assert that the rest of us who prefer modern instruments are not only horribly misguided, but positively evil.

[gurnemanz]

Thanks for mentioning Arrau who I had not heard in this work. Just played on Spotify and loved from the start.

[jayne lee wilson]

The recording that I cited by PBS would have dated from the early 1950s. Did he have all of his current thoughts about old vs new Pianos lined up like little ducks in a row back then? Were fortepianos routinely available back then? I know that Harnoncourt was just starting to experiment with period style, but isn't it just possible that as a young musician, PBS would have not had HIPP as part of his training (because who did in the 1940s?) would have played the Appassionata on whatever he was familiar with, began to learn fortepianos at a later time, and now as a mature musician decides what he wants to play on a given day?
I admit that I know nothing of PBS biography. Perhaps he has tapes of Mozart playing stored away in his basement that he only shares in secret meetings with HIPP aficionados who then are able to confidently assert that the rest of us who prefer modern instruments are not only horribly misguided, but positively evil.

Overreact much, rfg...? Phew.

Anyway, when do so-called "modern instruments" first appear, from a historical perspective.......?
The recordings of Brahms I have on various Erards or Streichers of the 1860s/70s have a clearer more varied coloristic range than say, a recent Steinway, they counterbalance all that resonating power and sustain with a brighter, tuneful articulacy. But they don't exactly lack power in those lovely clear, mellow lower registers (especially against smaller orchestras etc), and I don't think a listener would necessarily hear them as "period", or dated in any derogatory sense......would they?
And you're a timbral world away from a 1790s Fritz or Schantz...

[gradus]

Anyone else find the final Presto dash mighty off-putting in many performances. There was a Stephen Hough performance broadcast a few weeks ago that got it right to my ears at least, but I've heard some that are risible and again imv, diminish the piece by attempts at the world piano playing speed record.

[richardfinegold]

I listened to Brendel 1970 recording yesterday.. I have really enjoyed most of the Beethoven Sonatas from the big Brendel box, but this is an outlier. The best thing about it is probably the best recording for appreciating the structure of the work, with all the rules of Sonata Form clearly on display and no wild bursts of passion to distract from the musical architecture.
In the lp and early era, the Appassionata was most frequently coupled with the Pathetique and Moonlight and the Trio were referred to as the “named Sonatas” (conveniently forgetting other ‘named’ Sonatas such as Les Adieux, Tempest, Pastorale, etc). If I had been told that Beethoven had labeled the First Movement one of the named Sonatas as Quasi Una Fantasia, I would have guessed that movement to be I of the Appassionata, not the Moonlight, but Brendel’s recording makes that distinction clear. Brendel however has a complete lack of menace and danger that makes this work so great. As soon as it ended I played Pollini as a corrective

[Mal]

I listened to Brendel 1970 recording yesterday.. I have really enjoyed most of the Beethoven Sonatas from the big Brendel box, but this is an outlier. The best thing about it is probably the best recording for appreciating the structure of the work, ... Brendel however has a complete lack of menace and danger that makes this work so great. As soon as it ended I played Pollini as a corrective

I have the big Kovacevich box and I though he did an excellent job on the Appasionata. He's all about passion, drive, and power so it might be an interesting contrast to Brendel in "structural" mood. I didn't like Brendel's most recent take on the Bagatelles, which lacked drive. I found Kovacevich's more straightforward, dynamic, approach a great corrective. I also rated Kempff's (mono) Appassionata highly from his big box, might be worth a listen if you want something more understated than Kovacevich. What's Brendel like in the later Sonatas, 24 to 32? Anyone else you prefer in these?

[silvestrione]

I listened to Brendel 1970 recording yesterday.. I have really enjoyed most of the Beethoven Sonatas from the big Brendel box, but this is an outlier. The best thing about it is probably the best recording for appreciating the structure of the work, with all the rules of Sonata Form clearly on display and no wild bursts of passion to distract from the musical architecture.
In the lp and early era, the Appassionata was most frequently coupled with the Pathetique and Moonlight and the Trio were referred to as the “named Sonatas” (conveniently forgetting other ‘named’ Sonatas such as Les Adieux, Tempest, Pastorale, etc). If I had been told that Beethoven had labeled the First Movement one of the named Sonatas as Quasi Una Fantasia, I would have guessed that movement to be I of the Appassionata, not the Moonlight, but Brendel’s recording makes that distinction clear. Brendel however has a complete lack of menace and danger that makes this work so great. As soon as it ended I played Pollini as a corrective

'Menace and danger': yes, good, exactly what Richter brings. Though he is not Allegro ma non troppo in the last movement! Rosen points out that all the main material in the first movement appears in the same order in exposition, development and recapitulation, a 'rigidity' of structure that heightens the violence of the feeling, and that struck me as true, brought out well in Brendel 1970. But his finale is not cumulative and all-encompassing enough. And isn't he too slow in the middle movement? Andante con moto....difficult to bring off, that andante, not Beethoven's most inspired set of variations. Works best as a respite, but with some movement to it!

[silvestrione]

What's Brendel like in the later Sonatas, 24 to 32? Anyone else you prefer in these?

Perhaps a bit off topic, but what it's worth:
24 Arrau
25 Pollini
26 don't like it!
27 Gilels
28 Pollini
29 Brendel live (digital) or Steven Osborne
30 Richter in Leipzig, or Arrau's last recording
31 Schnabel
32 Schnabel

[Bryn]

Perhaps a bit off topic, but what it's worth:
24 Arrau
25 Pollini
26 don't like it!
27 Gilels
28 Pollini
29 Brendel live (digital) or Steven Osborne
30 Richter in Leipzig, or Arrau's last recording
31 Schnabel
32 Schnabel

Re. Op. 111, which Schnabel recording?

And what's not to like in the Lebewohl, Abwesenheit, Wiedersehen?

[Barbirollians]

I have the big Kovacevich box and I though he did an excellent job on the Appasionata. He's all about passion, drive, and power so it might be an interesting contrast to Brendel in "structural" mood. I didn't like Brendel's most recent take on the Bagatelles, which lacked drive. I found Kovacevich's more straightforward, dynamic, approach a great corrective. I also rated Kempff's (mono) Appassionata highly from his big box, might be worth a listen if you want something more understated than Kovacevich. What's Brendel like in the later Sonatas, 24 to 32? Anyone else you prefer in these?

I love Brendel’s digital 30-32 .

[Bryn]

Eagerly awaiting the release of the Levit survey.

[silvestrione]

Re. Op. 111, which Schnabel recording?

And what's not to like in the Lebewohl, Abwesenheit, Wiedersehen?

I prefer the first Schnabel op. 111.

Yes, it's just me, I don't get on with the 'programme music' aspect of it.


I agree Levit is a fine pianist and will probably be purchasing his set when it comes. But has not reached the level of the ones in the list above, in my view, yet .

[silvestrione]

Kovacevich is much admired in op. 111, I believe ('won' the French equivalent of BAL)...I must give it a go.

[Eine Alpensinfonie]

Anyone else find the final Presto dash mighty off-putting in many performances. There was a Stephen Hough performance broadcast a few weeks ago that got it right to my ears at least, but I've heard some that are risible and again imv, diminish the piece by attempts at the world piano playing speed record.

I heard John Ogdon playing this work in Hebden Bridge in the early ‘70s. This section was notable for its extreme approximation. We were unaware of the extent of his illness at the time.

[Eine Alpensinfonie]

Anyone else find the final Presto dash mighty off-putting in many performances. There was a Stephen Hough performance broadcast a few weeks ago that got it right to my ears at least, but I've heard some that are risible and again imv, diminish the piece by attempts at the world piano playing speed record.

I heard John Ogdon playing this work in Hebden Bridge in the early ‘70s. This section was notable for its extreme approximation. We were unaware of the extent of his illness at the time.