Composer: Ludwig van Beethoven
Works: Complete Piano Sonatas (Sonata No.1 in f minor Op.2 No.1, Sonata No.2 in A major Op.2 No.2, Sonata No.3 in C major Op.2 No.3, Sonata No.4 in E-flat major Op.7, Sonata No.5 in c minor Op.10 No.1, Sonata No.6 in F major Op.10 No.2, Sonata No.7 in D major, Sonata No.8 in c minor Pathétique, Sonata No.9 in E major Op.14 No.1, Sonata No.10 in G major Op.14 No.2, Sonata No.11 in B-flat major Op.22, Sonata No.12 in A-flat major Op.26, Sonata No.13 quasi una fantasia in E-flat major Op.27 No.1, Sonata No.14 quasi una fantasia in c-sharp minor Op.27 No.2 Mondschein, Sonata No.15 in D major Op.28 Pastorale, Sonata No.16 in G major Op.31 No.1, Sonata No.17 in d minor Op.31 No.2 Der Sturm, Sonata No.18 in E-flat major Op.31 No.3, Sonata No.19 in g minor Op.49 No.1, Sonata No.20 in G major Op.49 No.2, Sonata No.21 in C major Op.53 Waldstein, Andante in F major WoO 57 Andante favori, Sonata No.22 in F major Op.54, Sonata No.23 in f minor Op.57 Appassionata, Sonata No.24 in f-sharp minor Op.78 Therese, Sonata No.25 in G major Op.79, Sonata No.26 in E-flat major Op.81a Das Lebewohl, Sonata No.27 in e minor Op.90, Sonata No.28 in A major Op.101, Sonata No.29 in B-flat major Hammerklavier, Sonata No.30 in E major Op.109, Sonata No.31 in A-flat major Op.110, Sonata No.32 in c-minor Op.111, Sonata in E-flat major WoO 47 No.1 (Bonn No.1), Sonata in f minor WoO 47 No.2 (Bonn No.2), Sonata in D major WoO 47 No.3 (Bonn No.3)
Performers: Malcolm Bilson, Tom Beghin, David Breitman, Ursula Dütschler, Zvi Meniker, Bart van Oort, Andrew Willis (fortepiano)
Recording: March, June, July, November 1996, Masterview Sound Studio, Ithaca, New York, and Maria Minor Church, Utrecht, Holland
Label: CLAVES
Beethoven’s piano sonatas stand as monumental pillars in the classical repertoire, encapsulating the evolution of the composer’s style from the Classical to the early Romantic periods. This complete set, performed on period instruments, offers a refreshing lens through which listeners can engage with Beethoven’s ingenuity. The decision to utilize fortepianos, the very instruments for which these sonatas were originally composed, invites a profound exploration of the nuances embedded within these works, often lost in modern interpretations.
The performances across this well-curated collection reveal a tapestry of interpretative choices that illuminate Beethoven’s intentions. Each pianist brings their own flair to the sonatas, making for a diverse auditory experience. For instance, Ursula Dütschler’s handling of Sonata No. 6 in F major Op. 10 No. 2 showcases a virtuosic clarity in the opening Allegro, with each rapid figure ringing out crisply. The fortepiano’s quicker decay allows for a distinct articulation that emphasizes Beethoven’s intricate counterpoint. Conversely, the Largo e mesto from Sonata No. 7, also interpreted by Dütschler, demonstrates a poignant delicacy, where the lack of resonance creates an intimate atmosphere, drawing the listener into Beethoven’s emotional world.
The recording quality, while striving for an up-front and unembellished sound, varies slightly across the set. The engineers have captured the distinct timbres of the fortepiano, but there are moments where the differences in instrument and acoustic settings produce a disjointed effect. This sporadic inconsistency, although it mirrors the varying approaches of each pianist, may leave some listeners yearning for a more cohesive listening experience. However, the overall soundscape remains rich and informative, allowing the subtleties of the fortepiano’s sound to shine through.
One of the standout interpretations is David Breitman’s brisk tempo in the Andante of Sonata No. 15, which transforms the movement into an exhilarating, almost jazzy experience. Such an approach is not only refreshing but also suggests that Beethoven’s music, often perceived through a solemn lens, can also be interpreted with a sense of playfulness and spontaneity. This dynamism contrasts sharply with the more somber Marcia funebre of Sonata No. 12, where Andrew Willis captures a haunting intensity that resonates profoundly, demonstrating the versatility of the fortepiano in conveying both lightness and depth.
The inclusion of Beethoven’s early “Bonn Sonatas” in this collection serves as an intriguing historical footnote, offering insights into the young composer’s burgeoning genius. While these works may not attain the heights of his later compositions, they provide context for the evolution of his style and are performed with sensitivity by the ensemble.
This set undoubtedly enriches the listener’s understanding of Beethoven’s piano sonatas, presenting them in a manner that is both historically informed and artistically vibrant. The fortepiano, with its unique voice, breathes new life into these familiar works, presenting a sonic landscape that is at once both foreign and familiar. For those willing to embrace the textural differences and the challenges posed by the fortepiano, this collection is an essential addition to any serious music library, illuminating the complexities and joys of Beethoven’s enduring legacy.
