Search - Beethoven, Backhaus, Arrau :: Piano Sonata 32 in C Minor Op 111

Three generations of pianism!

Hiram Gomez Pardo | Valencia, Venezuela | 06/19/2006

(5 out of 5 stars)

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For the first time in the history if the recordings (at least I haven' t known about other previous similar release), we will have the chance to compare three different approaches about a same work. Not only in what concerns to the fact we are talking about here distinguished and well renowned pianists in Beethoven's interpretations, but there are three well defined visions and thence we should attain and expect three different visions about an outstanding Sonata.



If we metaphorically assume the destiny as a vertical vector , and the human will as an horizontal vector, we may obviously conclude that in the romantic vision dominates the verticality and so the will diminishes in intensity.



Backhaus is the oldest of the three pianists. He lived and grew up hovered by the inflections of a late Romanticism Backhaus interpretation is a very enriched performance in curious details; perhaps extremely abrupt in determined passages; where the inner tension is not supported by the pedal, but as a final product of a febrile concatenation of chords.



Claudio Arrau `s approach is among these three versions, the most polished, refined and neurotic. He constantly inquires himself, and visibly incurs in changes of tempi in the first movement, (which to my mind) weakens the spirit of the piece. Arrau is obsessed with the romantic spirit and underlines the sharp and abrupt contrasts of temperament through sudden changes of modulation. It's like remind the past before leaving the life, but with clear nostalgic moods. Instead of tension there is pain and sorrow.



According Badura Skoda `s vision the nostalgia is substituted by an inner tension state; so there is drama, struggle and conflict, but besides brilliant affirmation sense: this is to my mind the most appropriate and even valid approach.



All these versions were live recordings. Bachaus on May 18 1960, Arrau on May 20 1963, and Badura Skoda on March 23 1987.



Anyway, this CD constitutes a peerless musical document that exposes without hindrances, these three well different visions, and you may extract your own conclusions.



Additionally in the booklet, you will find an interesting writing of Piero Rattalino who was exception witness of these three notable artists of the keyboard.



Absolutely recommended.

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