Composer: Ludwig van Beethoven
Works: Piano Sonata No 21 in C major, Op. 53 ‘Waldstein’; Piano Sonata No 23 in F minor, Op. 57 ‘Appassionata’; Piano Sonata No 30 in E major, Op. 109; Piano Sonata No 31 in A flat major, Op. 110
Performers: Walter Gieseking (piano)
Recording: 17 & 22 June 1951 in the Kammersaal, Kongresshalle, Zürich (Opp. 53 & 57); 31 August & 1 September, 1955 in No 3 Studio, Abbey Road, London (Opp. 109 & 110)
Label: EMI GREAT RECORDINGS OF THE CENTURY CDM 5 67585 2 0
Beethoven’s piano sonatas occupy a central role in the canon of Western classical music, reflecting the evolution of the composer’s style from the Classical clarity of his early works to the emotional depth and complexity of his later compositions. The four sonatas included in this collection—Op. 53 ‘Waldstein,’ Op. 57 ‘Appassionata,’ Op. 109, and Op. 110—are cornerstones of the repertoire, each embodying distinct emotional landscapes and innovative structures. Walter Gieseking’s interpretations, recorded in the early 1950s, bring a unique and instinctive approach to these masterpieces, highlighting both their historical significance and their timeless appeal.
Gieseking’s interpretation of the ‘Waldstein’ Sonata opens with a brisk energy that captures the movement’s sense of urgency and mystery. His phrasing, described aptly by Bryce Morrison as “fleet and mysterious,” allows for a fluidity that keeps the listener engaged. The slow movement unfolds with a rapt quality, a serene contrast that showcases Gieseking’s ability to create an atmospheric depth without losing clarity. The finale’s poise is remarkable; Gieseking expertly balances delicate touch with necessary strength, navigating the dynamic contrasts with a finesse that speaks to his technical prowess. While his approach may lack the forthrightness found in Schnabel’s earlier recordings, it compensates with a nuanced sensitivity that feels deeply authentic.
The ‘Appassionata’ Sonata, often seen as one of Beethoven’s most profound works, is delivered with an air of suspense in the first movement, where Gieseking’s playing possesses both intensity and a sense of fragility. Even as individual passages may appear slightly blurred, Gieseking’s overall conception remains cohesive and compelling, inviting the listener to experience the emotional turmoil inherent in the piece. The finale, filled with fire, is executed with a lighter touch, contrasting with the more robust interpretations of some contemporaries like Alfred Brendel. This choice, while stylistically different, aligns well with Gieseking’s interpretive lens, allowing for a more intimate interaction with the music.
Turning to Op. 109, Gieseking’s handling of the third movement—theme and variations—demonstrates his ability to convey a serene poise throughout. His interpretation of the simple theme is especially noteworthy for its understated elegance, inviting a contemplative listening experience. The comparison to Schnabel’s longer, more dramatic rendering reveals Gieseking’s commitment to a less extreme yet equally profound interpretation, one that emphasizes the work’s lyrical qualities without sacrificing depth.
Completing the set with Op. 110, Gieseking maintains his signature poise while infusing the second movement with an energetic spirit. The finale encapsulates an Olympian calm, successfully evoking a sense of inner peace. His approach to the final L’istesso tempo section feels like a benediction, a moment of grace that resonates long after the last note has sounded. This interpretive choice reflects not only Gieseking’s understanding of the music’s emotional contours but also his ability to articulate them in a manner that feels both personal and universal.
The mono sound quality of these recordings, while showing some limitations such as the occasional clangor in the upper registers, does not detract from the listening experience. The engineering captures Gieseking’s tonal nuances and dynamic contrasts effectively, allowing his artistry to shine through.
Walter Gieseking’s interpretations of these Beethoven sonatas stand as a testament to his artistry and deep understanding of the repertoire. While his approach may not align with every listener’s expectations, it is precisely this instinctive, atmospheric quality that makes his recordings a valuable addition to the collection of any discerning Beethoven enthusiast. The performances reveal a compelling way to engage with these masterpieces, illustrating that there are myriad paths to experiencing Beethoven’s profound musical language. Strongly recommended for both its interpretative insights and historical significance.
