Beethoven: Piano Sonatas, Opp. 81a & 106 [Import]

When compared with other pianists who have been playing the piece throughout their whole career, like Brendel, Kovacevich's first recording has some shortcomings. They show up most in the first part. The opening chords lack some majesty, and the following scene is not as firm as Pollini's and Brendel's. I also find Brendel more playful in the end of the exposition. But Kovacevich is great in the first movement's little fugue. His expression of the different voices is superb. And when the fugue is over, his recapitulation of the main theme is much more majestic than in the opening chords. The coda, however, sounds a bit messy and here I prefer Brendel and Pollini again.

The Hammerklavier's scherzo is a strange work: it is well possible to treat it as a fast, sharp movement, (like Pollini and Brendel do) but it can also be seen as a slower, minuet-like piece (like Arrau does). This is how Kovacevich does it. He is graceful rather than flashing, and I must say it works pretty well. Especially the way he plays the trio: as a dark, almost spooky moment which prepares for the nearing prestissimo. Altogether, I can't say Kovacevich is wrong.

His treatment of the extremely dark Adagio, my favourite piece of music, is also a rather special one. Kovacevich gives a large twist to its concept and turns it into a statement of hope rather than despair. Hardly 16 minutes are used to complete the task (many need about 20 minutes!) He plays in his typical style: intimate, colourful but above all fresh and clear. He keeps everything as logically possible. And again, it works! It is really refreshing to hear this movement being played with a smooth, lively attitude. Of course, someone like Arrau will give you the more drama, but I can't get rid of the thought that he (and many others) plays most for himself. Not so with Kovacevich: he plays as if he addresses his message directly to you, the listener. The moment where some sunrays break through (after about 10 minutes) has never been so satisfying to my ears. Just listen to the sampler and you'll hear what I mean. I like this revelatory slow movement very, very much.

And then...: the fugue! Let me be short: it is an extraordinary one. Beyond words! Kovacevich's fugue is one long, exciting rush to glory. As in the first movement, his voicing is extraordinary. He does not try to hide anything from our ears. And the stormy power he has in his fingers! Even after ten minutes it has not diminished. I even get physical reactions when I hear Kovacevich play. Never has the fugue been so exciting! He is so superbly in his element (as he was not entirely in the first movement): what a pity he has never explored this piece before! But at last, we have a recording of it. All in all, this is a magnificent (and quite original) Hammerklavier, though with some strange moments in the first movement. But I would definitely recommend it.

The other music on the disc: the Bagatelles op. 119 and the Les Adieux Sonata op. 81a, deserves more attention than I give them here, but so be it. In the Sonata, Kovacevich characterizes all three movements perfectly. I especially like his playfulness in the last movement ("The Return"). The Bagatelles are very well suited to Kovacevich as they require exactly the intimacy and humour Kovacevich possesses. They turn out to be very funny (or serious) pieces (One lasts only 14 seconds!). Why oh why are they so neglected? They are a very fine addition to this great disc, which is one of the most intriguing I have heard for a time. Now that the whole series is complete, according to me Kovacevich has made the most distinguished Beethoven cycle ever. Recommended to every serious fan of classical music.