Search - Carl Maria von Weber, Garrick Ohlsson :: Weber: Complete Piano Sonatas

EXTRAORDINARILY VITAL WEBER

Melvyn M. Sobel | Freeport (Long Island), New York | 02/13/2003

(5 out of 5 stars)

"Ponderously difficult to bring off without falling all over oneself in the process, the four piano sonatas of Carl Maria von Weber [1786-1826], as well as most of his piano works, have been virtually left to molder. Back in the LP days, Hans Kann had enough moxie to tackle Weber for Vox Records around 1975. For most of us it was our first hearing and, unfortunately, forgettable, which is probably the reason we never actively sought these sonatas out. Then came Alexander Paley (Naxos), Hamish Milne (CRD) and Constance Keene (Newport Classics), an unwavering lot all, but no equal to Ohlsson in widening these works, in every direction, to their fullest measure.



Weber's Piano Sonata No. 1 in C, Op. 24 [1812] barnstorms open with a full throttle chordal entry, all very much Beethoven and auspicious, and then proceeds to literally hop around the keyboard--- jumping to and fro--- trilling with demoniacal delight. The stunning impossibility of this Allegro is such heavy weather that it tickles the senses by its sheer virtuosi seriousness and by the extrovert maneuverings of the composer in spite of himself. The Adagio intones Beethoven again, but is no mere knockoff; it's all Weber. The Menuetto is a curious interpolation of elements and devices, whimsy and mood, and is the perfect emotional prelude to the fabulous perpetuum molto Rondo, with its skittering up and down the keys. Who could not be musically intoxicated during, and after, hearing this?



Composed in 1816, Sonata No. 2 in A-flat, Op. 39 eschews, for the most part, the extrovert display of its predecessor in favor of romantic introspection, the Andante being particularly ruminative and intimate. The Menuetto capriccioso dispels some of the darkness with its elfish playfulness, but the Rondo, although upbeat, continues along thoughtfully, its figurations meandering back and forth over the ivories.



The three movements of Sonata No. 3, Op. 49, also 1816, bring Weber to a point of more serious intent, his bearing urgently insistent, concentrated, fiery, and with a rather operatic and darkly penetrating flavor. This is a Weber we have not heard before; there is more substance here, less matter. Even the flashy Rondo seems more interested in pursuing higher compositional ground than it does in mere display. This is a lean, focused and memorable work.



Sonata No. 4 in E minor, Op. 70 [1822] keeps Schubert at hand, its nearly thirteen minute Moderato first movement plunging fervently into the lyrical headwaters of romanticism, and continuing upstream in the complex and frenetic Menuetto, which seems more malignant than minuet--- like some demonic prance. The Andante is lovely, its central theme very much like the slow movement of Schubert's own sonata in D [Op. 53], and the ambient nostalgia is fetching. In the final Prestissimo, we are treated to the curlicues of a bizarre tarantelle--- and caught completely off guard--- as the work ends disquietingly.



The excellent inclusion of Weber's intoxicating Invitation to the Dance, Op. 65 [1816], Rondo Brillante, Op. 52 [1816] and Momento Capriccioso, Op. 12 [1808] makes for even headier listening.



With incomparable performances of these rare sonatas and piano works, coupled with excellent sound, this set silences criticism.



[Running time--- CD 1: 72:41 CD 2: 60:30]"

Weber by Ohlsson

Edward Pawlus | Lake Forest, IL United States | 09/11/2001

(5 out of 5 stars)

"If you love the classical and romantic composers, if you are a lover of Beethoven and Schubert sonatas, you will also love these Weber sonatas. Not that these sonatas are Beethoven knock-offs. They are brilliantly original, full of passion and excitement. I'm a big Garrick Ohlsson fan, he exudes warmth and class. His interpretations leave feeling that you have just heard something very special. These Weber recordings are no exception."

Emotionally and technically very moving!

Piano lover Bob | Houston, TX USA | 09/20/2001

(5 out of 5 stars)

"I am surprised that these sonatas are just now being reviewed, (see Edward Paulus review). They got rave reviews from Fanfare and Gramophone, when first released. In fact, if my memory serves me correctly, Fanfare nominated this recording as "The Classical Instrumental Recording of the Year". As sonatas, they are light years from Mozart and Beethoven and Schubert - very original, almost orchestral writing and some of the movements are technical beasts. The last sontata is very emotional - full of technical fireworks. Always wished von Weber had written more."