Most authoritative

[lysander]

I don't recall whether we have discussed this before, but I have recently heard that Arthur Schnabel is the most authoritative interpreter of Beethoven's piano sonatas, and has the best understanding and deepest emotional empathy with 'B'.
Arthur Schnabel's recordings date from, 1932-1935.
Does anyone have these recordings and what is your opinion.

I am a bit hesitant of purchasing old recordings as I have done in the past and have been a bit disappointed.
I rate Alfred Brendel as one of the best modern interpreters of the sonatas, though I don't think he can handle Beethoven at full throttle, but then who can?

[This message has been edited by lysander (edited March 17, 2003).]

[Chris]

Well, Brendel is my pick.

I'm sure Rod will be along shortly to tell you how little he thinks of Brendel's efforts at the sonatas. He will probably go on to say that Badura-Skoda is best in terms of a complete set, but to get the best out of each sonata, several different pianists will have to be in your collection. All playing fortepianos of course!

[Joy]

I enjoy Alfred Brendel as well and like his interpretations. I have several sonatas performed by him. Also Bernard Roberts is another pick. I have the complete sonatas performed by him and enjoy them very much.

Joy

[Chaszz]

A good friend of mine, very experienced in classical music listening, swears by Schnabel. He has played one or two Beethoven sonatas for me, and I don't care for the interpretations.

I like Brendel and I like Rudolf Serkin even more for the sonatas. But I believe many critics, expecially older ones, share my friend's view.

[Rod]

Schnabel is just another 'hit and miss' performer from my experience. Even Badura-Skoda has his off moments Chris, but his set with the fortepianos is no longer in the catalogue in any case, at least here in the UK. But of course you will hear the best bits at this site soon enough.


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"If I were but of noble birth..." - Rod Corkin

[This message has been edited by Rod (edited March 18, 2003).]

[Rod]

Originally posted by Chaszz:
A good friend of mine, very experienced in classical music listening, swears by Schnabel. He has played one or two Beethoven sonatas for me, and I don't care for the interpretations.

I like Brendel and I like Rudolf Serkin even more for the sonatas. But I believe many critics, expecially older ones, share my friend's view.

Well, I think there's a Brendel effort still to come on the Rare page, (the variations) but that will be the last we will hear from this chap! Why have you not yet registered at my Handel site Chaszz? Naughty boy.

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"If I were but of noble birth..." - Rod Corkin

[This message has been edited by Rod (edited March 18, 2003).]

[Zon]

I have the Brendel Favourite Beethoven Sonatas (Phillips). I thought the performance to be mediocre even sloppy, but what gets me is the terrible production of the CDs.
I do enjoy the Tempest on there.

[Leigh M]

I have Jeno Jando's set on Naxos.
The only one's that I think are special are Vol. 6 (my favourite) which features brilliant interpretations of op. 14, 78, 90 and 101, and Vol 4 , of the last three sonatas, I think he plays them quite well.

I'm not that fond of his Hammerklavier, the first movement is just a tad too slow, albeit steady. I've heard Pollini's and I think he changes the pulse too much in the first movement, although the fugue is a most exciting account.

[Sorrano]

I don't know Schnabel at all, but Kempf's recordings I have. Penquin guide praises them but I am terribly disappointed in most of it. Brendel's variation performances are quite good, but I haven't delved much into his sonata playing.

[Joy]

Originally posted by Leigh M:
I have Jeno Jando's set on Naxos.

I have Jeno Jando's volumn 1 and 2 playing Beethoven's Bagatelles.

Joy

[John Rasmussen]

I have Schnabel's Opus 109 and 111 (Nos. 30 and 32) on vinyl. His technique isn't as perfect as most of today's greats, or even many of his contemporaries. But if you like straight-ahead interpretations and don't mind historical sound, Schnabel is the way to go. I particularly love the final movement of Opus 111 as Schnabel plays it; it sounds inevitable, absolutely right.

[Rod]

Originally posted by Leigh M:
I've heard Pollini's and I think he changes the pulse too much in the first movement

This is the curse of Beethoven sonata performance!


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"If I were but of noble birth..." - Rod Corkin

[John Rasmussen]

Originally posted by Rod:
This is the curse of Beethoven sonata performance!

I wonder...It's been speculated that Beethoven himself would have allowed considerable flexibility in tempo. Schindler, in particular, indicates that the master would vary the tempo, introduce breath-pauses, and stop at very little to make his performances more expressive.

But I agree that such things can be overdone. After all, Beethoven wasn't Liszt!

Barenboim, as both pianist and conductor, is an example of how to do this with good taste. Conductor Wolfgang Sawallisch also has admirable flexibility that never overdoes itself. Even Brendel, while more restrained, plays with that slight essential flexibility.

[Gurn Blanston]

Well, certainly all corners heard from! We are not differentiating here between Brendel's early 60's performances on Vox and his recent set on Philips, so I can only say that since I don't have the Philips set I don't know, but I DO have the Vox set, and the young Brendel did justice to the music quite nicely. I also have (and have recommended here before) the Kempff set of Opp. 13, 27#2, 53 & 57 on DG Originals, and IMHO it is an excellent disk, but then, I like Kempff's style, which not all do.
Regards, Gurn

[Rod]

Originally posted by John Rasmussen:
I wonder...It's been speculated that Beethoven himself would have allowed considerable flexibility in tempo. Schindler, in particular, indicates that the master would vary the tempo, introduce breath-pauses, and stop at very little to make his performances more expressive.

But I agree that such things can be overdone. After all, Beethoven wasn't Liszt!

Barenboim, as both pianist and conductor, is an example of how to do this with good taste. Conductor Wolfgang Sawallisch also has admirable flexibility that never overdoes itself. Even Brendel, while more restrained, plays with that slight essential flexibility.

Well there is flexibility and then there is flexibility! I'm not into roboticaly consistant tempi, but the flexibility should not conflict with the underlying rhythmic pulse which I feel should be fairly constant with Beethoven. Czerny observed a more strict manner of performance from Beethoven. He also mentions that with the slow movements it was the manner of playing rather than tempo that really differentiated them from the allegros, and that only an observance of the metronome would clearly indicate the slower tempo.

Either way I'm sure some of the performances I have heard would be way too flexible by Schindler's standards. The music just falls apart when the momentum is toyed with too much.


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"If I were but of noble birth..." - Rod Corkin

[This message has been edited by Rod (edited March 21, 2003).]