Search - Stephen Kovacevich, Beethoven :: Stephen Kovacevich 1 Great Pianists of the 20th Century

Classic accounts

asbyip | Hong Kong | 02/12/2001

(5 out of 5 stars)

"It is perhaps a pity that Kovacevich did not complete a Beethovan sonata cycle for Phillips in the 70s and 80s. Fortunately he is doing one now for EMI. Listening to these sonatas again confirmed that he is in the same class as Schnabel, Serkin, Arrau - and no praise can be higher ! Modern pianists cannot match his insight into these works, not even Brendel, Pollini etc."

Beefy Beethoven

JT | Pennsylvania | 01/15/2001

(5 out of 5 stars)

"Excellent, overall, I found Kovacevich'a interpretation of these sonatas generally to be superior to similiar recordings I own by Arthur Rubinstein, Alfred Brendel or Christina Ortiz. Technicaly he is second to none, but it is his artistry and interprative abilities that sets him apart. He plays these pieces more agressively and uses more contrast most pianists but he does not go so far as to distract the listener from the beauty of these pieces. The sound is generally very good for recordings made in the 1970's, however tape hiss does pop up occasionally in Op.13. Although all the pieces are very good, his interpretation of Op. 13, is the best I ever heard, However, if you want to try a lighter, less agressive Beethoven get Rubinstein's playful rendering of the E-Flat Op.31, no 3 sonata , or Brendel's Op. 111 both of which are excellent."

Mainly for Sonatas 8, 17, and 32

ibell21 | Toronto, ON Canada | 05/14/2003

(5 out of 5 stars)

"I'm most impressed with Kovacevich's handling of the dramatic minor key sonatas on this disc--#8 is the Pathetique, #17 is the Tempest, and #32 is of course the famous last sonata. The fast minor key movements have all the drama, concentration, and intensity one could ask for in a Beethoven sonata, and the slow movements for the most part equally impressive. (And unlike some other undoubtedly great Beethoven pianists, Kovacevich's playing never shows signs of limitations of technique.) Kovacevich's sonata #32 is I think my favourite among the 32s I know, K.'s interpretation of the second movement being transporting in the way it ought to be while at the same time being built on the firmest of structural foundations. I like Kovacevich's #28 without being swept away by it, whereas the lyricism of ##30 and 31 sometimes verges a bit too close to mushiness for my taste. As I wrote in my (anonymous) Amazon review of his EMI re-make of #31, I like that version better partly because the textures seem clearer."