Customer Reviews

Beethoven: The Piano Sonatas

5 star:		(5)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Vladimir Ashkenazy is a first class pianist and this collection of his recordings of Beethoven's Piano Sonatas is excellent. Recorded over the course of 30 years this series has a startlingly crisp sound throughout and one is hard pressed to notice the fact that these performances are so temporally varied. Throughout the set Ashkenazy's playing is precise if a bit less lyric than Glenn Gould or Claude Frank.

Indeed every master pianist brings something slightly different to the fore in rendering Beethoven's work, and in Ashkenazy it is the striking amplitude changes and rhythmic power of the works that take center stage. This said, his work on such lyric movements as the first in the Moonlight Sonata, and the middle in the Appassionata are well done.

The only drawback of Ashkenazy's approach is that his equanimitous style can blur the intense diversity in the set of sonatas. But his set is a great one all the same and a good backbone for a Beethoven sonata collection which one can augment with choice individual sonata's from other pianists.

Of particular note is the thrilling speed at which Ashkenazy takes on Op. 106 the Hammerklavier, famous for being incredibly difficult. One of the major issues that has dogged this sonata is that no one seems willing to play the first movement at Beethoven's prescribed speed of 138, opting instead for 112, or 120 at most. Ashkenazy's first movement, while not quite 138 blisters without sounding forced and is the quickest version I have come across--Glenn Gould's version is close, but lacks Ashkenazy's precision (although G's treatment of the final fugue is superbly lyric).

A note on the packaging of the music: the sonatas are recorded on ten cds in chronological order. Each Cd has a paper covering and all of them are stacked inside the outer box. As such they are not equipped to journey far safely on there own and it would have been nicer if the box was a book, but alas the price is right and the excellent quality of the music is what shows through.

UPDATE: Since the time of this review I have listened to many many pianists take on Beethoven and I am continually impressed with how well Ashkenazy stacks up. Most of the time I prefer his works over Arrau, Kempff, Gould, Blumenthal, Kuerti.

His presentation of the MOONLIGHT SONATA, such power and energy, such flowing rhythm and crystal high notes, is worth the price of this collection on its own!

Ashkenazy seems to understand Beethoven to a pristine clarity. I know that people will gravitate toward what they like, and Ashkenazy might not 'light your fire' as he does mine, and that's ok. Ashkenazy is my favorite pianist because of his clarity, technique, feeling (which he does actually have, contrary to some peoples' opinions), and emotion and power. Honestly, I can think of no other set that is better. All the other sets mentioned are good, but this one is excellent. Ashkenazy's talent is what 'makes' this set, and his talent produces true music, in every sense of the word, and that's what it's all about.

I might have given Ashkenazy three stars, but I couldn't bear rating one of my favorite pianists merely "mediocre." After all, a lot of this is a matter of taste. And, when it comes to Beethoven's piano sonatas, I prefer the more thoughtful and weightier approach of Alfred Brendel. Ashkenazy certainly has awesome technique, which makes a big difference in the later sonatas (particularly the "Hammerklavier") where the Russian virtuoso is at his best. However, in the earlier works, Ashkenazy sort of breezes over much of the poetry and humor, and there isn't much for the brain to ponder or the heart to feel. He's certainly pleasant to the ears, although on certain works (the "Pathetique" for instance) the piano seems strangely tuned, so that Ashkenazy pounds the keys in a bone-splitting way that is most unpleasant. These icicles of sound can send a shot of pain right down the spine. Ashkenazy is so successful playing Beethoven's concertos and all of Chopin, I'm at a loss as to how his piano would sound so frigid and spikey on this set. Perhaps it was the recording. At any rate, I suggest that you buy a single disc sampler of Ashkenazy's Beethoven sonatas before you invest in this complete set. Otherwise, go for Brendel or the young Barenboim.

I may be biased, but I must say the following to potential buyers of any of Ashkenazy's Beethoven. I must make different sets of comments for casual and experienced listeners.

To casual or beginning listeners, I must say that it does not make that much of a difference, Ashkenazy or someone else. These recordings are not too bad, the price is not too bad either. Besides, there is an advantage for beginning listeners to listen to all the sonatas by the same performer, and so I might even recommend this set. Besides, Ashkenazy's style is so consistent and engaging, it's easy to "get with the flow" of Beethoven's sonatas. The "Waldstein" is very good, I must add.

But for the more discerning listener - or someone who has listened to other interpretations - I must say that Ashkenazy's Beethoven interpretations lack so many subtleties that the brilliance of his performance does not make up for it. When I heard Ashkenazy's Appassionata, it gave me the feeling that the power at the end of the finale had so overwhelmed him, he could not keep up with it - and just gave up! It was like the lights going out at the height of the festivities.

Ashkenazy gives me the impression that he wants to "standardize" as much as possible, with very little variation of style between different sonatas. This works well for Mozart - there are many people who understand what I mean here.

But for Beethoven - even if you do not get a complete set, it's worth the money getting individual recordings by other performers. I'd recommend Barenboim for most of the middle sonatas, if you want the power, the emotion, the thunder - not Ashkenazy's watered-down "medium-emotion". And for the late sonatas - maybe Rosen or Pollini.

Ashkenazy playing the late sonatas? Forget it!

Ashkenazy is a "performer", and that fits in well in Mozart's world - not the world of Beethoven. Definitely not the late sonatas.

A very fine set of Beethoven Piano Sonatas and one which I treasure. However, prospective buyers should be aware of a point made by March et al in The Penguin Guide: 'the CDs are not always as full and natural as the EMI transfers of the Barenboim cycle'. More should be made of this, and specifically one could mention the whole of Sonatas Nos 19 and 20, as well as the last movement of No.25, where the piano sounds positively strangled - almost as if we are in the next room, or perhaps listening to a fortepiano rather than the piano which Ashkenazy was playing. Perhaps this is a deliberate attempt on the part of the Decca engineers to achieve a more intimate sound in these small-scale works (but why then only the last movement of No.25?). For me, the attempt if it is such, fails. Repeated listening to these particular sonatas does nothing to ameliorate my negative reaction to this sound. If you can put up with these flaws, there is a good deal else here to enjoy; but if you want total perfection (is that available?) - look elsewhere!

Though the performances in this set were originally recorded through the mid 70's and early 80's, the sound overall is quite good. What is exceptional about the set is the intell iegent, sensitve, and energetic playing of Askenazy of music that in many works, especially the later sonatas, stand as peaks of the piano literature.

It is a delight and a treasure to have the 32 sonatas in one volume so ably played. The earlier less familiar works gleam ; the familiar sonatas are refreshed with understanding and the talent to take Beethoven for himself.

Along with the probing and ethereal moments of the last sonatas, the entire series serves itself as music to stimulate the heart, the mind, and the soul.

Playing such as occurs in this set is never dated no matter when it was recorded.

C'est La référence.
Cependant je préfère le jeu du premier mouvement de la sonate 32 joué par Simone Dinnerstein, un soupçon plus rapide.

Enregistré dans les années 1980 par Decca, cette interprétation est absolument convainquante. De la vie, de l'émotion dans une oeuvre tellement enregistrée que l'on pourrait croire qu'il n'y a plus rien a inventer. Erreur ! Nouveau ! et très respectueux, et rien de facile.
Excellente qualité technique, qui ne date pas non plus.
Le prix ? Époustouflant pour 10 CD