Customer Reviews

Beethoven: Piano Sonatas Nos. 1 - 3, Opp. 2:1-3

5 star:		(3)
4 star:		(0)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

The sonic transparency of this recording, with its fully-realized dynamic range and splendid sense of three-dimensional sound stage, is the next best thing to actually being present in a very good seat in the Herkulessaal in the Residenz in Munich.
Maurizio Pollini's deep knowledge of Beethoven's music and life are clearly evident in this masterfully satisfying account of the three Op. 2 sonatas. Every dynamic and note just sound convincingly right. I think this is superb recording of a performance that Beethoven - who was of course an exceptional pianist too - could like very much. It is full of charm, wit and fresh surprise. The elegant playing is informed by what I can only describe as confidence born of humility. It is never mannered or dry. Unconditionally recommended for those who come to these sonatas for the first time, as well as those familiar with other recorded accounts.

Pollini was wise to save Beetoven's Op. 2 piano sonatas for late in his complete cycle, having begun with the late sonatas over three decades ago. He's achieved such ease and mastery that these early works roll off his fingers with silken effortless that masks a lifetime's attention to touch and insight -- I doubt any contemporary can match him at this point. One can alight on any single movement, such as the Adagio of Op. 2 no. 1, and the variety of tone, the eloquence found in simplicity, testify to a rare match of artist and composer. Or consider the arpeggiated runs in the Rondo finale to Op. 2 no. 3, which define that cliche, a gossamer touch.

The product description and first reviewer here at Amazon try to sell Op. 2 as dramatic, fully realized Beethoven, but in truth there's plenty of Haydnesque classicism in them. What's so marvelous is that Pollini doesn't make the music sound backward-looking, much less dainty. He achieves a feeling of Beethoven's strength without pumping the music up. It's a matter of poise and balance, allowing Beethoven's special excitement peek through whenever it appears. (Richter, who also favored early Beethoven, tended to punch it out and play over-aggressively at times, although that can be exciting in its own right, of course.)

Probably this CD will appeal in the end mostly to Beethoven completists, Op. 2 being overshadowed by the "name" sonatas of the middle period and the revolutionary accomplishment of the late period. But to anyone who loves Pollini, here's an installment in his cycle that brings as much admiration and delight as any of the others.

This is the third CD in a new series of recordings that Maurizio Pollini has devoted lately to Beethoven sonatas. The great Italian virtuoso tackles here three early works, namely those assigned to op.2 in Titan's catalogue. Beethoven dedicated his very first piano sonatas to the undisputed father of the Viennese Classicism - Joseph Haydn - and that can be somehow sensed in their witty atmosphere, the playful phrases and the sparkling outbursts resembling their dedicatee's own manner of composing. Yet, the deep feelings and dramatic moods are not absent at all. But they are acting here - so to speak - "under cover", under the strict control of a well-balanced reason. Rather suggesting than affirming. Certain massive melodic structures and even virtuosic passageworks point towards that inexorable force Beethoven finally displayed in his output and (though, still discretely) announce the Beethovenian grandeur to come. Pollini captures the graceful aroma of these early sonatas and lend them his own nervousness, his own taste for strong contrasts, for sharp light-dark edges. There is no room for floating Mozartean style or poised Haydnian lively jokes in Pollini's approach. The full Beethovenian struggle of contrasts, drama and Romantic passion take the stage from the first bars.
The liner notes supplied by Paolo Petazzi (as in the previous two CDs in the series) are welcome, adequate and efficient for the reader who needs the stylistic context, the structures and technical details of the partitions to be explained.
All in all, this is a remarkable achievement from Pollini who is supposed to continue the recording series of his Beethoven sonatas up to the complete cycle. That would be for sure his definitive rendition, entirely realized in the XXI century when both his conceptual force and technical skills have reached authoritative exquisiteness. If so, it would be very captivating then to compare his actual "mellow" approach with the "wild" one of his youth when he recorded, for instance, the last trilogy (opp. 109, 110 and 111). Impatiently waiting for that occasion!

I think the late Harold C. Schonberg, influential critic for the NY Times, was the first to characterize Maurizio Pollini as a "cult figure" and "intellectual pianist" to whom musical color, charm, personality and emotion have little meaning. "Don't interpret, but just play the notes" was the then modern style of Pollini. "Cool perfection, impersonal sound and computer-like total control" according to Schonberg (The Great Pianists, Ch.37; 1987). These memorable words were written two decades ago, but they haven't lost their meaning. Now over 65, Pollini still is a cult figure with countless admirers (his concerts are immediately sold out, even if he only plays Stockhausen and Boulez; and read the uncritical five-star reviews here at Amazon). Being a cult figure is fine, but did Pollini change as a musician over the years? He surely became milder and more expressive, but at the same time he has maintained his reputation of a pianist whose playing lacks emotional content, warmth and depth. Gifted with a vast technique, Pollini can play anything with breathtaking tempi, flawless, and no mannerism or show-off whatsoever. Yet he is musically one-sided and emotionally aloof. He never tempts. Everything is done the same way - never a surprise. Regrettably, his recording of Beethoven's Op. 2 (or Op. 10 for that matter) is no exception.

The opening of the F minor sonata (Allegro) is a breathless chase of events. No time for musical eloquence. The Menuetto (Allegretto) is rushed and lacks grace, not least because of exaggerated fortissimo's. In the fourth movement, the fine melodic line that starts from bar 35 (right hand octaves) is neglected. Yes, it is prestissimo, but that's no excuse for ignoring a melody that should sing. Plain-sailing pianism.

Slow movements are the real touchstones. The beautiful Largo Appassionato of the A major sonata is too detached and crisp to my ears. To quote Gramophone: "Even in the slow movements, Pollini can be authoritarian, barking his orders at you with inflexible resolve". The Scherzo is rushed again (played Allegro instead of Allegretto) with too much pedal, while there is a conspicuous lack of humor in the Rondo Grazioso (Pollini and humor mix like water and oil; listen to Brendel for the humor and grace in this movement). Again lots of nervous intensity and little humanity in the C major sonata.

These recordings are fine for the many worshippers of Pollini; for more musical eloquence and virtues others should look elsewhere. Looking elsewhere is not a challenge given the countless fine recordings of these sonatas. If you find the sound of the legendary Arthur Schnabel unacceptable, listen to Wilhelm Kempff, Claudio Arrau, Annie Fischer or Emil Gilels. The latter is my favorite; Gilels' Op. 2/2 is deeply moving and unsurpassed (unfortunately, he did not record no. 1). Murray Perahia also did a great job with his very musical and insightful interpretation of Op. 2. Newcomer Paul Lewis shouldn't be overlooked either (his Vol.3 of the Beethoven sonatas). A world of difference with Pollini.

I collect as many versions of The Beethoven Sonatas as I can get my hands on - but I regret spending my money on this one.

Signor Pollini gives me the impression of a pianist who is BRILLIANT at sight-reading some very tricky piano music. These performances sound like he stepped into a studio - propped the sheet-music up, and proceeded to play through it after years of not having looked at it! Yes, as his fans say, he does give you an overall picture of the structure of the work, but that's because he breezes past most detail, creating a sort of mold of a masterpiece rather than an artist's interpretation or image of a work, worth something in its own right due to personal details/colours.

These performances would be interesting to listen to a few times, but they are marred by some horrible engineering decisions. People moan about DGs Digital 80s recordings - but Pollini and his stablemates have been better served in those 80s recordings than the disaster (sonically) one finds here: they have managed to make the piano sound cavernous - blighted with reverb, in an effort to make it sound like it's a public recital - a recording process for piano which I really don't like. (Give me that nice, airless, flat sound of Glenn Gould studio recordings - my idea of piano recording perfection.) Usually, a small consolation for having the microphone at a distance from the piano is that we don't have to hear extraneous noises from the artist. Well here, the terrible engineers/mixers have somehow made the piano sound distant while also managing to capture every sigh, grunt and groan from Pollini! Some people debate whether he's an aloof or objective or 'cool' pianist - I think he's literally COOL - on the 4th movement of Op 2/1 he sounds like he's drinking a slurpee/slushee WHILE sight-reading the piece! No mean feat at prestissimo! On Op 2/2 - the mix or recording improves a tad, the heavy breathing a little less intrusive, the slurping almost non-existent. I dare not listen to this on headphones lest I feel like Darth Vader has popped in to have a listen to some Beethoven - that's how intrusive the breathing is.
I purchased the download of this, so I don't know if different engineers/mixers were used for the different pieces, but whoever recorded/mixed Op1/1 should hang his head in shame. Time for me to go back to my current flame, the Schiff Beethoven cycle for a while.