Piano Sonatas 6

EDITORIAL REVIEWS
REVIEW
It is doubtful if the endless parade of Beethoven piano sonata recordings will ever cease, at least as long as we have well-trained pianists hoping to commit their performances to records. Here we have another clutch of recordings where one pianist, Ehlen, throws his hat in the ring, while the others continue to move ahead with their series. I do wonder about cycles started but never completed.

Ehlen, currently Associate Professor of Piano at the University of Illinois in Urbana- Champaign, comes into direct competition with Tchetuev in Sonata 1 only. There is no other duplication between these recordings. Following this early sonata, he tackles one of the composer's most beloved and concludes with the grand behemoth of them all. Sonata 1 is more interestingly played than Tchetuev, but has been given a rather close, dry recording. Moreover, he does not take all the repeats, if this matters. Tchetuev, on the other hand gives us a traditional performance in glorious sound and takes the repeats, including one that is new to me and did not appear in the score at hand. In the first movement he returns to measure 48 following the closing bars and restates the material again through the fortissimo conclusion. The last movement Prestissimo takes more than eight minutes, or about double what Ehlen takes (and most other recordings). Again it is the repeats that stretch the music to that length, and not the chosen tempo, though Ehlen plays this movement at breakneck speed.

Continuing with Tchetuev's performances of Sonatas 2+3 is to come across a greater sense of depth than usual. Part of this is attributable to his attention to repeats and the structural enlargement that brings. It is also easy to become seduced by the sound of his Fazioli grand piano and the wonderful SACD engineering. The Largo appassionato of Sonata 2 is one of Beethoven's loveliest and most intense slow movements. Tchetuev plays it with just the right amount of inner tension. Both the Scherzo and Rondo are guided through their motions with gentler hands than usual, but no lack of strength when called for. Sonata 3 is very well phrased, dynamics beautifully proportioned without seeming too studied. Add to this some fascinating notes, but what has happened to the two earlier volumes of this series? They have not been reviewed in ARG.

Ehlen performs Sonata 14, Moonlight, with dreamy elegance in I and wrings all the tension out of the Presto agitato finale. There is never any doubt as to his technical capability, and he is more than willing to demonstrate it. He may be a professor, but there is nothing remotely academic in his playing as he pulls out all stops.

Ehlen's Hammerklavier Sonata, at just over 43 minutes, is hardly an overindulgent reading. It is certainly a bold move to include it on his first disc, though that's one way of getting it out of the way early on. His grasp of the piece is very impressive, and his spare use of pedal lays bare the bones of its structure. Yes, he is fairly quick and willing to take chances, but this is not a sonata for pianists whose insecurities dictate their performance practices. The long Adagio has an intense concentration and depth of feeling that demonstrates Ehlen's ability to sustain a line over long durations. The incredibly complex last movement of this Sonata has him taking on all the challenges of the exhausting trills and wide leaps--and doing so with a minimum of pedal and no sign of tiring. Of course one can always get around this in the recording studio by doing the movement in sections, but I suspect his accomplishment is the real thing. While he expresses negative feelings about liner notes, he has done well with them anyway.

Michael Korstick's recording contains just one sonata, along with two superbly played sets of variations. He has already given us a good recording of the Diabelli Variations (May/June 2006), as well as five additional volumes of the sonatas; I have reviewed two (May/June & Sept/Oct 2008). The empty hall sound I commented on in those earlier reviews has been largely tamed. Korstick remains an aggressive pianist who holds little back and will not appeal to all tastes. His playing is always distinguished if we think of the composer with a scowl on his face. Each variation is well characterized with both dynamism and subtlety. If Curzon's gorgeous Eroica Variations remains unchallenged, Korstick's accomplishment is worthy as a different point of view.

Sonata 15 opens with a very gentle statement of the principal theme. This is somewhat deceptive, as the sforzatos that follow are despatched with such rugged strength, and it is easy for the listener to feel exhausted after the onslaught. The Andante offers some respite, but the ensuing Scherzo and Rondo toy with us with their sharp dynamic contrasts. The Rondo, with its gently rocking rhythm is given an added lift by shortening the last note of each phrase by a hairsbreadth. It is very effective and helps lend additional interest to a performance that is never less than fascinating and unusual.

Andre Rangell was not treated well by our reviewer (July/Aug 1992), who described his playing of Sonatas 30-32 as "dull". A recent reviewer was more appreciative of his Beethoven playing (May/June 2006). Listening to this recording it is difficult to find these interpretations dull. On the contrary, his frequent shifting of gears and sometimes self-indulgent expressive means is more apt to keep the listener on the edge of his seat. There are many beautiful moments, as in the Adagio Molto of Sonata 5, but Rangell races the final movement's Prestissimo to an uncomfortable degree. Sonata 6 is also played very freely, with the opening Allegro introducing some surprising, but effective, embellishments. The Allegretto and Presto have a great deal of character as well, though the Presto does sounds a bit hectic, with little breathing space as it makes a headlong dash towards its conclusion.

Sonata 7, following on the heels of its predecessor, continues the impression of an almost relentless forward motion. This is temporarily disturbed by a Largo of beauty that has just the right amount of repose. This gentleness continues into the Minuet, though the Trio disturbs this momentarily with just the right amount of contrast. The final Rondo ends one of Rangell's best performances of this group of Sonatas.

Sonata 8 (Pathetique) is played in a very traditional manner. Nothing goes awry, and nothing occurs to distinguish it from the many good performances--that is, until we come to the concluding Rondo, with its clipped appoggiatura and detached execution. This is not necessarily wrong, but it is certainly different. Rangell contributes his own notes, and the recorded sound is quite good.

All of these pianists have something interesting to say about these much-performed works. While they may not displace my affection for others who have trod these paths, it is safe to say that all are worthy protagonists, and my Beethoven shelves will have to stretch a little to make room for them. Andrew Rangell's disc will remain out for the next month, while I wrestle with a decision on that one. -- American Record Guide, Alan Becker, November 2009

Number of Discs: 1

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