Search - Ludwig van Beethoven, Wilhelm Kempff :: Beethoven: The Late Piano Sonatas

Many Great Moments

Michael Paull | lawrence, kansas United States | 09/19/2005

(4 out of 5 stars)

"Wilhelm Kempff is one of those pianists who became famous (along with Brendel, and a few others) for taking a much different interpretive approach to Beethoven's piano music than the usual blood-and-guts style favored by other performers throughout history (all the way back to Beethoven himself, so say contemporary accounts). So if you're looking for that kind of player, I would suggest trying Ashkenazy or even Schnabel.



This legendary pianist is of a different breed. Even in the big crescendos, one hears a sense of reserve in this man's playing that gives the impression of an introverted personality at work, although with absolutely no lack of expressive power or imagination anywhere. It is with much of the music in these late sonatas that this approach works particularly well.



One reason, is that these sonatas ARE more inward-looking and enigmatic than Beethoven's earlier efforts. While there are some real barnstorming moments throughout the late sonatas, they are largely surrounded by long stretches of introspective musical narrative, and moments of quirky abstraction. Beethoven was clearly exploring new territory.



Kempff's strength here, is that not only does he already have the personality for this kind of music, but his incredibly pure musicality and sense of improvisation make even the thorniest moments in these works actually sound...beautiful (not an easy thing to do).



My favorite interpretations by him have been the late Bagatelles (not a part of this set, but very worth getting), the sonatas 27 and 28, AND...the first movement of the "Hammerklavier" sonata (my single favorite recorded performance by this artist).



By now, you might have read another review, posted here, that discusses, and is very critical of Kempff's version of this sonata movement. The reviewer is very knowledgable, and clearly knows what Beethoven's metronome markings are supposed to be. In fact, every point made in the review is well-founded, and difficult to argue (if you haven't read the review, the main point is that it is played too slowly). Of course, most pianists (including people like Pollini) DO take the tempos in the faster movements at least a little bit slower than what Beethoven had originally indicated.



Kempff takes the tempo down yet another couple notches. The result is more of an Allegro Moderato, and a completely different feel than what I'd heard up to then by other pianists. It would be difficult to even describe the first impression it made on me. It was frankly, a bit off-putting until I got used to it. Then, over time, it completely won me over. It might be the first interpretation that has...



You see, I'd always had my doubts about the composition of this movement. There is for me, an impression of fragmentation of ideas/themes throughout the work's structure that gives me the impression of someone on an ill-fated hike through the woods, where one loses all sense of direction, and ends up walking by the same landmarks again and again. Themes seem to spring up repeatedly with too many of their original trappings, and not enough development, and even the fugue in the middle ends all too quickly to my ears. This is not the usual experience I have with Beethoven's music, the (for me) real master of organic structure among all the great composers.



Kempff brings that sense of the "organic" back to the music, not only by taking his time, tempo-wise, but by use of the most brilliant phrasing and pacing of ideas. Suddenly, this movement sounds not like a group of smaller events re-played again and again, but one larger unfolding story. Instead of a labyrinth that takes one through the same section(s) of woods, it now feels like one freshly-cut trail that goes ever deeper into the heart of the forest. If I could use use one word to describe the experience, it would be "kalaidascopic".



Beethoven was once listening to one of the most brilliant young pianists of the day play one of this works, and when she was finished, he said "If that is in no way what I had in mind as to how this piece should be played, it is perhaps even better. Please go on...""

Greatly improved sound quality

Robert Bezimienny | Sydney, NSW Australia | 10/20/2001

(5 out of 5 stars)

"These are revered works and Kempff's renditions have attracted equally reverential reviews by informed critics - for mine, this set is one of the best available. Having earlier acquired the entire 32 sonata edition, I purchased this hoping for improved sound quality from the new transfer - I was not disappointed. The sound is spectacularly improved. If you are thinking of buying these performances again for the same reason, then don't hesitate. Deutsche Grammophon have actually remastered the entire 32, and that set is available under 'Complete Beethoven Edition'. Also, aside from formal works on music theory, there is an interesting discussion of Beethoven's late sonatas in 'Doctor Faustus', by Thomas Mann."

The best piano music in the world

Eric Klavins | 06/20/2000

(5 out of 5 stars)

"It is hard to believe that Beethoven was completely deaf when he wrote what is arguably the best piano music of all time. Kempff is the supreme interpreter of Beethoven's piano sonatas. Even though this music was recorded a long time ago, the sound is quite good. A great pair of CD's at a great price!"