Search - Ludwig van Beethoven, Artur Schnabel :: Beethoven: Piano Works, Vol. 7

Five "Middle Period" Sonatas.

John Austin | Kangaroo Ground, Australia | 08/30/2004

(5 out of 5 stars)

"Perceptive fellow reviewer J Scott Morrison is likely to be proved right in predicting that this CD could well be the first choice of those wishing to sample the famous Beethoven Sonata Society recordings of Artur Schnabel. Here are five of Beethoven's "Middle Period" sonatas. No two of them are alike. All display Beethoven's capacity to present and discuss great musical ideas, and at least two of the sonatas are in the front rank of his works.



Although Artur Schnabel's probing insights into these works have never been surpassed, it is true that his pianistic skills are sometimes insufficient to do justice to his perceptions. For example, you will hear on this CD how his response to Beethoven's "vivace" and "vivacissimente" markings results in vivacious scrambles.



The early 1930s were good years for piano recording at EMI. These famous recordings sound better than ever in remasterings by Mark Obert-Thorn.

"

Messy & Magnificent

J Scott Morrison | Middlebury VT, USA | 08/23/2004

(5 out of 5 stars)

"Finally, Naxos has released the specific Schnabel performance I've been waiting for: Beethoven's 'Appassionata' Sonata, No. 23 in f minor, Op. 57. Yes, I know the others are wonderful but this is the one I wore out when I was a kid and hadn't heard again in quite some time. I could hardly wait to crack the CD out of its shrink-wrap so I could hear the messiest and most magnificent 'Appassionata' I ever heard. Recorded in 1933, it is, like all the others in this series, in ancient but marvelously rejuvenated sound, courtesy of Mark Obert-Thorn. The performance has a dynamism I've never quite encountered in other recordings, although I will say that Arrau, Serkin and Rubinstein come close, and are in better sound. Still, one has the feeling that Schnabel has something personal to say and even when his fingers don't quite do what his heart and mind command (primarily in the fastest and densest portions of the sonata's outer movements) it is still magnificent music-making. I am over the moon to have this performance again. Thank you, Naxos!



The other sonatas included here are the 23rd's neighbors, 22 through 26. Of course this also includes 'Les Adieux,' No. 26, Op. 81a, and it, too, is given a marvelously inflected and genuinely moving account. No. 22, possibly the least known or, rather, the least played of this group, is the two-movement Op. 54, often described as 'cold' or 'intellectual.' Schnabel plays it as if he truly believes in it, and it comes off largely because he sets the sonata's organic growth before us rather like a great artist presents a floral still life. No. 24 in F sharp major, Op. 78, also in two movements, is played with emphasis on its sunny good humor. No. 25 in G major, Op. 79, has always reminded me that Beethoven studied, however briefly, with Haydn; it has Haydnesque high spirits and sudden harmonic twists that make one catch one's breath. Schnabel, of course, understood this and makes much of the surprises. I defy anyone to hear the third movement without grinning at its rough and flippant humor.



This CD is probably one that will sell better than most of the others in the series because it contains two of the best-loved of Beethoven's sonatas ('Appassionata' and 'Les Adieux'). And, indeed, if you're only thinking of buying one, this is the one to get.



But if you're a true Beethovenian, you'll buy the lot. They're that good, and that important as performances.



Strongly recommended.



Scott Morrison"