Search - Ludwig van Beethoven, Alfred Brendel :: Beethoven: The Complete Piano Sonatas

Four and a half stars

jsa | San Diego, CA United States | 10/28/2009

(4 out of 5 stars)

"I'm fond of Alfred Brendel's Schubert, Haydn & Mozart so when I had the opportunity to pick up this newly reissued set of Beethoven sonatas for just over $30 from an Amazon reseller, I grabbed it. Since I've spent thirty-plus years with the Arrau cycle, starting with the LP's, & also had the Schnabel set in my library, I admit that I have fairly fixed ideas about what the Beethoven sonatas should sound like. Arrau, born in Chile but for the most part trained in Germany, is often called cold, detached & analytical (i.e. "Germanic") in the studio; but I think this is dead wrong. His identification with the mythic-heroic elements in Beethoven is reflected in his playing, which is full of emotional depth - sometimes so much so that it is difficult to listen to. Brendel, too, is often referred to as an intellectual pianist, which I suppose implies that his playing too lacks emotional depth; but after listening to his survey of Beethoven sonatas, I think this assessment is also wrong. It's true that Brendel may not project the same level of suffering that Arrau sometimes finds in these scores (and this may be a relief at times), nor does he reach the celestial heights scaled by Arrau, but instead favors structure & the working out of various ideas, none of which makes him any less Beethovenian. Perhaps the best way to differentiate the two is to describe Arrau's orientation as "Romantic" whereas Brendel is more of a "Classicist."



There are many moments in these sonatas where Brendel's playing seems scaled down compared to Arrau's & you often end up thinking he's missed an opportunity to make a statement. Arrau, on the other hand, has often been accused of excessive point-making; & while Brendel too can belabor a point, he doesn't often go to Arrau's length. But it is in the process of reaching for the stars that Arrau, who may occasionally reach too far, reveals more of Beethoven's conflicted/spiritual aspects & no doubt, more of himself as well.



The sound-world of these pianists also comes into play. Arrau is plush & organ-like & while very modern in his playing still incorporates rhetorical flourishes that are reminiscent of the 19th century giants from whom he descended (Arrau's only teacher was Martin Krause, the last pupil of Liszt). This is especially evident in his traversal of the late sonatas, which to my way of thinking, has never been surpassed. Brendel is more compact, if not austere, in his playing which has a bell-like ring to it. Sometimes he makes a clipped ratta-tat-tat sound, as in the rondo of the Waldstein sonata, where Arrau's pianistic finish is just more sophisticated. Yet Brendel's playing has an unsettling rattling element which makes his performance of the Moonlight sonata one of the best I have ever heard. This same rattling effect can be heard in the Tempest sonata, which is also exceptional.



Let me say that I was prepared to be disappointed from the outset after listening to the first two sonatas (op. 2 nos. 1 & 2), which are missing the joy of early Beethoven & lend credence to the "cerebral" label so often attached to Brendel. Certainly these sonatas are well thought out, perhaps even a little too well thought out as they have a calculated feel to them. Opus 2, no. 3, on the other hand, sparkles. There are ups & downs from this point on as not everything is equally inspired - indeed, as we all know, there is no ideal set of Beethoven sonatas. Sonatas no. 5 & 6 are from recitals & both succeed very well (too bad the applause wasn't edited out though). And Brendel really shines in the two op. 14 sonatas & also in op. 22. Perhaps his matter-of-fact treatment of the funeral march from the the op. 26 sonata is a little lightweight, but he spares us the echt-dirge of Arrau even if it's entirely appropriate. But when you listen to the contrast that Arrau draws between this movement & the sunlit finale, you realize that it was worth the emotional pain. His insistent finding and/or infusion of meaning is in contrast to Brendel's more straightforward approach, which doesn't lack imagination but sometimes just doesn't reach the same high level of inspiration. A case in point is the second movement of the thirteenth sonata, one of my favorites, which Brendel efficiently dispatches, but which the visionary Arrau transforms into a statement of kaleidoscopic proportions. There is simply no comparison between the two. Having said that, let me point out that Brendel is far from superficial - in fact, his sonatas are for the most part very well balanced & can be a refreshing tonic to Arrau's persistent inwardness.



I was pleasantly surprised by Brendel's readings of the late sonatas. The Hammerklavier, recorded live(!), is absolutely outstanding, as is his reading of op. 101. He also turns in a great op. 111, sounding, in fact, very much like Arrau. I was less taken with op. 109 where some of the phrasing is too plain - but I recall Harris Goldsmith calling Arrau's phrasing in the late sonatas "Furtwanglerish" (which was meant to be a pejorative) & even though his readings may border on overstatement, to me they are infused with an epic grandeur that has never been equaled.



In summary, the highest compliment I can pay to the Brendel cycle is that I will listen to it - and often.



Four & a half stars.

"

Who's the idiot at Amazon who called the great Brendel "infa

Mataro | Chicago | 10/06/2009

(5 out of 5 stars)

""Infamous" means known widely and unfavorably. Which is hardly the case here. Until he retired last year, Brendel's live performances were known widely and favorably for decades, and his studio releases are pretty magnificent, too. Brendel recorded the complete Beethoven piano sonata cycle three times, an early version for Vox, this Decca set and a later Philips version. Although the sonics of this version can be pretty hissy, it's still my favorite. It would have been nice to know whether any remastering was done here to improve the sound. Because Amazon's lsitings are frequently missing such useful information, I guess you could say their editors are infamous. ;)"

Tha last Beethoven cycle recorded by Brendel

ID - siena | Spain | 10/24/2009

(5 out of 5 stars)

"This is the last set of Beethoven piano sonatas recorded by Brebdel and probably the best. It was recorded in digital sound.

It is true it was recorded for Philips (Brendel second set for Philips), but after Universal bought Philips, the time to use "Philips" brand name was limited and it seems all the back catalogue from Philips will appear under Decca lebel (or DG).

This set is excellent and at its time won the best prices from specialised critic.

"