Composer: Ludwig van Beethoven
Works: Piano Sonatas Vol 2: Tempest Op. 31 No. 2, Appassionata Op. 57, A Therese Op. 78, Alla tedesca Op. 79, Les Adieux Op. 81a
Performers: Wilhelm Backhaus, piano
Recording: 1959-1969
Label: Eloquence Decca 467 240-2 [77’21]
Ludwig van Beethoven’s piano sonatas represent a profound journey through the evolving landscape of Western music, with each work revealing layers of emotional complexity and technical innovation. The five sonatas featured in this volume, performed by Wilhelm Backhaus, capture pivotal moments in Beethoven’s compositional evolution. From the tempestuous energy of the “Tempest” to the poignant reflections in “Les Adieux,” these works not only challenge the performer but also invite listeners to engage with Beethoven’s intricate emotional narratives.
Backhaus’s interpretations can be characterized by a robust, almost elemental approach. In the “Tempest,” his phrasing is direct and unadorned, effectively channeling the sonata’s inherent drama. While some may find a certain rhythmic lethargy in his slow movement, this quality serves to underscore his conception of the sonata as a unified statement rather than a collection of disparate ideas. His finale, contrastingly, resonates with solidity, revealing a patrician control that stands in stark relief to the flamboyance often associated with other interpreters such as Artur Schnabel. Backhaus’s choices here speak to a deep understanding of Beethoven’s contrasting moods, offering a performance that feels both grounded and invigorating.
The “Appassionata,” perhaps the most iconic work in this collection, showcases Backhaus’s profound seriousness of purpose. His rubato, while at times bordering on excessive, is never arbitrary; rather, it reflects a genuine engagement with the music’s emotional core. His left-hand staccato is particularly noteworthy, lending a crispness to phrases that still manage to convey depth. The finale’s aggressive accents and bold chording highlight the visceral nature of his performance, framing a work that is as much about raw power as it is about lyrical beauty. Though one could argue that his interpretation lacks the subtleties of some of his contemporaries, there is an undeniable nobility in his approach that resonates deeply.
In the smaller sonatas, “A Therese” and “Alla tedesca,” Backhaus demonstrates his ability to navigate the intricacies of Beethoven’s writing with a mix of charm and gravity. The opening movement of “A Therese” benefits from his chordal depth, although one may note a certain relentless insistence that can feel somewhat overwhelming. The humor in the “Presto alla tedesca” is delivered with a straight face, allowing the understated charm of the slow movement to emerge naturally, while the vivace springs forth with an effortless aplomb that is both refreshing and engaging.
The recording quality, drawn from sessions spanning from 1959 to 1969, reflects a meticulous engineering approach that preserves the clarity of Backhaus’s sound. The piano’s tonal richness is captured beautifully, allowing the listener to appreciate the full spectrum of dynamics and articulations. While some may prefer more modern recordings with their enhanced fidelity, the warmth and character of this historical recording offer an authentic listening experience that complements Backhaus’s interpretative choices.
Backhaus’s approach to these sonatas may not fit the mold of the dazzling colorist or the transcendental technician, yet his performances are imbued with a rare artistic honesty and nobility. Each sonata is brought to life through his unique lens, revealing a musician who, while perhaps not always in fashion, is undeniably significant in the pantheon of Beethoven interpreters. This collection stands as a testament to the enduring power of Backhaus’s artistry and his deep connection to Beethoven’s monumental legacy.
