Search - Beethoven, Biret :: Idil Biret Beethoven Edition, Vol. 10

Idil Biret Plays the Beethoven Sonatas -- Nos. 9,10,13,14

Robin Friedman | Washington, D.C. United States | 09/10/2009

(5 out of 5 stars)

"For most listeners, the "Moonlight" sonata will be the main attraction on this CD of Idil Biret's recording of the 32 Beethoven piano sonatas. But in addition to the "Moonlight", Biret offers beautifully subdued readings of three of the less-frequently performed sonatas. The program consists of two groups of two sonatas, including the early works of opus 14 and the experimental, transitional sonatas of opus 27, including the "Moonlight". Biret recorded the opus 14 sonatas in 2004 and the opus 27 works in 2008. I have been enjoying revisiting the sonatas through Biret's recordings and sharing my thoughts about them here on Amazon.



The opus 14 sonatas date from about 1799, making them contemporary with Beethoven's famous Sonata Pathetique, opus 13. These two works, however, differ radically from the Pathetique and from the large-scale, virtuosic piano sonatas (opus 2, opus 7, opus 10) that proceeded it. The two works of opus 14 are intimate and lyrical and not too difficult to perform. They are too frequently overlooked, and it was good to have the opportunity to focus upon them in Biret's recording.



The three-movement sonata in E major, opus 14 no 1 is sometimes remembered because Beethoven transcribed it for string quartet. Beethoven wrote: "I have arranged only one of my sonatas for string quartet, because I was so earnestly implored to do so; and I am quite convinced that nobody could do the same thing with ease." The opening allegro features an expansive, singing theme played quietly over repeated chords. There is a contrasting and even more lyrical second theme. After a short development, the opening theme returns in octaves, with some force. Instead of a slow movement, the second movement of the work is a gracious minuet in E-minor with a trio in the major. The work concludes with a flowing rondo based on a theme highly similar to the opening theme of the first movement.



The sonata in G major, opus 14 no. 2 is frequently given to young piano students as their first Beethoven sonata. It is a lovely, lyrical sonata full of innocence and romance. The opening movement is based upon an off-beat lilting theme of six notes which, among other things, receives a false reprieve in the surprisingly extended development section. The second movement is a theme followed by a charming set of three variations in which the hands alternate with each other and the variations alternate between detached and legato passages. The finale is a whimsical rondo which Beethoven marks as a scherzo.



The opus 27 sonatas were composed in 1801. They are both ground-breaking works that Beethoven marked "Sonata quasi una Fantasia," due to their improvisatory, highly integrated character.



It is a shame that the sonata in E-flat major, opus 27, no 1 has been overshadowed by its companion because this sonata is a masterpiece in its own right. Each of the movements in this four-movement work follow one another without pause. The sonata is dazzling in the way it ties together disparate musical material. In his edition of the Beethoven sonatas, the British musicologist Donald Francis Tovey said that this work begins as a "divertimento" that "becomes formidable as it proceeds." Tovey continued: "beware of the first movement; it seems childish, alike in its playfulness and its sentimentality: but it is quietly laughing at something and prigs may find it is laughing at them."



As Tovey stated, the work opens with a simple andante which is interrupted mid-course by a furious allegro. The second movement is a boisterous scherzo which is followed by a stately, and highly expressive adagio. The finale is a rambunctious rondo, but it is interrupted at the end by a reprise of the adagio theme before turning to a final presto conclusion. Biret offers a wonderfully perceptive reading of this comparatively infrequently performed sonata.



Beethoven never called his sonata in c-sharp minor, opus 27, no. 2, the "Moonlight", but the name has stuck from the beginning. This is one of the rare works of music that was recognized as a masterpiece from its earliest days with a stature that has been undiminished with time. This work is loved by people who have lived with classical music for their lifetimes and by those who know nothing of it. Biret plays the "Moonlight" sonata in a fluid, self-effacing way. She avoids the temptation to take the opening movement too slowly, and she keeps a steady, flowing tone and rhythm. It is easy to distinguish each of the three voices in her performance. Biret, unlike some performers, has carefully thought about the intermediate movement and makes it an effective bridge between the opening and conclusion of the work. The concluding presto agitato is played with passion and clarity. Biret offers an excellent reading of a much-beloved and recorded work.



This CD offers a good way to get to know some infrequently performed Beethoven together with the "Moonlight". Lovers of the Beethoven sonatas will enjoy hearing Biret's renditions of these cherished works in the ongoing cycle.



Robin Friedman



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