The greatest Beethoven pianist of the 20th century?

[Michael]

I would have to go with Brendel because it was through him that I first heard most of the sonatas. They came out in the early seventies on the Vox label and I was able to get them on CD about ten years ago. It is hard to choose between that and his first stereo set for Philips. I also could not live without the Kempff set (the stereo one) and it contains one of my favourite recordings of the Hammerklavier, despite his lack of the exposition repeat in the first movement!
I have one disc by the much maligned Rudolf Serkin and - for me - it contains THE version of the Hammerklavier; the adagio gives me cold chills.
I have another complete set by Ashkenazy which I like very much but it is strangely neutral compared to the others (not necessarily a bad thing). However, it contains my favourite "Waldstein".
Lastly, my favourite "Appassionata" is by Emil Gilels although the first movement might be a bit on the slow side for some.

Michael

[Michael]

HI Gurn, do you still do your ritual of listening to Beethoven's 9th Symphony every Sunday?

I can't imagine how anyone could listen to the Ninth every Sunday. It should be listened to every day!!

[Joy]

I can't imagine how anyone could listen to the Ninth every Sunday. It should be listened to every day!!

But of course! Ha! Ha!

I enjoy the Bernard Roberts complete sonatas as I have the CD's and am so used to listening to them that when I hear others I seem to always go back to Bernard. Probably just from hearing them so much.

[Chaszz]

What a different thread this would be if Rod were still here. It would be filled with recriminations against all these pianists we have suggested who use the modern piano, and with suggestions of fortepianists who fill the bill. And would no doubt wander into a 'which is better' contest between the fortepiano and the modern in general.

Just yesterday I heard on the radio a Mozart trio with a very distinctive sounding fortepiano. They must be building them even more like the originals (or building them to somwhat overdo the difference from the modern piano) than was the case at the beginning of the HIP movement, because this one sounded downright odd. I was all ready to do a segue into a 'well this is how it must really have sounded' moment and readjust my perception of Mozart, and then I was pulled up short by the clanky and slightly out-of-tune sound of the instrument, and decided I didn't really like it.

Anyway, here's a glass raised to my erstwhile jousting partner of yore, Rod, and wonder what he is up to now.

[Gurn Blanston]

What a different thread this would be if Rod were still here. It would be filled with recriminations against all these pianists we have suggested who use the modern piano, and with suggestions of fortepianists who fill the bill. And would no doubt wander into a 'which is better' contest between the fortepiano and the modern in general.

Just yesterday I heard on the radio a Mozart trio with a very distinctive sounding fortepiano. They must be building them even more like the originals (or building them to somwhat overdo the difference from the modern piano) than was the case at the beginning of the HIP movement, because this one sounded downright odd. I was all ready to do a segue into a 'well this is how it must really have sounded' moment and readjust my perception of Mozart, and then I was pulled up short by the clanky and slightly out-of-tune sound of the instrument, and decided I didn't really like it.

Anyway, here's a glass raised to my erstwhile jousting partner of yore, Rod, and wonder what he is up to now.

Chaszz,
If it is any consolation for missing Rod, I must say that my fondest desire for a lot of these pianists is that they had had a good fortepiano to play instead of a modern piano...

Curious what version of the Mozart trios you heard, if you happen to know. I have a couple of different ones on fortepiano, and they do indeed sound distinctive. One thing about a fortepiano, moreso than a modern piano, is that each one has its own distinctive sound. I might suggest that it wasn't a reproduction you heard, but an actual period instrument. On most of my recordings, the period instruments do have a more noticeable individuality than the repros, by and large.

Cheers,

[Peter]

What a different thread this would be if Rod were still here. It would be filled with recriminations against all these pianists we have suggested who use the modern piano, and with suggestions of fortepianists who fill the bill. And would no doubt wander into a 'which is better' contest between the fortepiano and the modern in general.

Just yesterday I heard on the radio a Mozart trio with a very distinctive sounding fortepiano. They must be building them even more like the originals (or building them to somwhat overdo the difference from the modern piano) than was the case at the beginning of the HIP movement, because this one sounded downright odd. I was all ready to do a segue into a 'well this is how it must really have sounded' moment and readjust my perception of Mozart, and then I was pulled up short by the clanky and slightly out-of-tune sound of the instrument, and decided I didn't really like it.

Anyway, here's a glass raised to my erstwhile jousting partner of yore, Rod, and wonder what he is up to now.

A search will soon reveal the lengths we debated this topic! I am the proud owner of a wonderful 1814 Dettmer square piano and the sound is great - however I still prefer playing Beethoven on my Bechstein. I don't think Beethoven owned a square piano and they certainly do not have the power of the fortepianos which is I'm sure what he had in mind for performing his music.

Rod is not here by choice because Robert Newman is not here - and if Newman was here there would only be one debate and therefore no point to the forum whatsoever.

[DavidO]

I love several Beethoven pianists -- more than several, actually, but perhaps not quite "dozens." So what's the word between "several" & "dozens"? I love my old vinyl Kempf recordings, I love the Brendel recordings I have heard, & I really profoundly love Pollini's recordings of the last five (except that something he does in Op. 109 strikes me every time I hear it as an error, but then I realize that the great Pollini doesn't make errors, so it must be my ear, but damned if it doesn't still strike me as an error every time I listen to it). I also love the performances Gieseking made of some of the sonatas. Gilels, fantastic, of course. Richter, sublime, natch. Rubenstein, yada yada yada.

But overall? I'll cast my vote for Frank, a student of Schnabel & a pianist who shares several (not "dozens" of) stylistic & interpretive aspects with Schnabel.

I'd love to hear the pianist Scherbakov record a complete set. He can really wallup.

[Alberto Venni]

Greetings to everyone. This is my first post in this forum.
No one even speaks of Maurizio Pollini and Vladimir Ashkenazy?

[DavidO]

Greetings to everyone. This is my first post in this forum.
No one even speaks of Maurizio Pollini ...

No one except me. See above.

Welcome to the Beethoven board, btw!

[Michael]

Greetings to everyone. This is my first post in this forum.
No one even speaks of Maurizio Pollini and Vladimir Ashkenazy?

I think I mentioned Ashkenazy above. Welcome to the forum

Michael

[Peter]

Greetings to everyone. This is my first post in this forum.
No one even speaks of Maurizio Pollini and Vladimir Ashkenazy?

Welcome Alberto - No I don't rank either of those with even Brendel when it comes to Beethoven. For me Schnabel was the greatest interpreter of Beethoven - the poor recording quality is for many people a great put off which is a shame.

[Joy]

Did anyone mention Daniel Barenboim? I wouldn't say he's my favourite but I just watched a PBS special where he played several Beethoven pieces (one beng The Appassionata) and it also showed him teaching piano to students Lang Lang was one of them. Very good special and interesting.

[Alberto Venni]

I am hearing now at the radio a concert with Alexander Lonquich pianist and conductor. The event is the international festival to the memory of Arturo Benedetti Michelangeli. The program is Concerto n. 3 op. 37, Symphony n. 8 op. 93, Concerto n. 4 op 58. He has a sound not so brilliant but very fluid and light. I am enjoying it very much.

[Michael]

Did anyone mention Daniel Barenboim? I wouldn't say he's my favourite but I just watched a PBS special where he played several Beethoven pieces (one beng The Appassionata) and it also showed him teaching piano to students Lang Lang was one of them. Very good special and interesting.

Just saw that very programme a few nights ago, Joy. It was totally fascinating.

Michael

[Chaszz]

Chaszz,
If it is any consolation for missing Rod, I must say that my fondest desire for a lot of these pianists is that they had had a good fortepiano to play instead of a modern piano...

Curious what version of the Mozart trios you heard, if you happen to know. I have a couple of different ones on fortepiano, and they do indeed sound distinctive. One thing about a fortepiano, moreso than a modern piano, is that each one has its own distinctive sound. I might suggest that it wasn't a reproduction you heard, but an actual period instrument. On most of my recordings, the period instruments do have a more noticeable individuality than the repros, by and large.

Cheers,

Sorry, Gurn, I do not know the performance details.

Chaszz