Ludwig van Beethoven - The Piano Sonatas, Vol. VII (András Schiff)

Performers:

András Schiff (piano)

Tracklist:

1. (00:05:30) Sonata for Piano No. 27 in E minor, op. 90: I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
2. (00:08:06) Sonata for Piano No. 27 in E minor, op. 90: II. Nicht zu geschwind und sehr singbar vorgetragen
3. (00:03:54) Sonata for Piano No. 28 in A, op. 101: I. Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo
4. (00:06:34) Sonata for Piano No. 28 in A, op. 101: II. Lebhaft. Marschmäßig. Vivace alla Marcia
5. (00:02:32) Sonata for Piano No. 28 in A, op. 101: III. Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto
6. (00:07:50) Sonata for Piano No. 28 in A, op. 101: IV. Geschwinde, doch nicht zu sehr, mit Entschlossenheit. Allegro
7. (00:11:07) Sonata for Piano No. 29 in B-flat, op. 106 'Hammerklavier': I. Allegro
8. (00:02:42) Sonata for Piano No. 29 in B-flat, op. 106 'Hammerklavier': II. Scherzo. Assai vivace
9. (00:15:29) Sonata for Piano No. 29 in B-flat, op. 106 'Hammerklavier': III.Adadgio sostenuto
10. (00:12:51) Sonata for Piano No. 29 in B-flat, op. 106 'Hammerklavier': IV. Largo - Allegro risoluto

Review:

I take my hat off to Schiff's 'Hammerklavier' Sonata, which takes off from the first bar with real passion – a rare thing, in my experience, for this chilly pianist. He far outdoes Brendel and Gilels in imagination and breadth of vision throughout this massive work. Ricther could raise the hair on your head with his almost violent attack and intense concentration – with him, the 'Hammerklavier' was a matter of life and death – but Schiff isn't out to recreate Beethoven's soul struggles. He gives us a clear, honest perspective on Bethoven's wild imaginative flights while maintaining dramatic tension. If only ECMs piano sound weren't so pingy on top and wooden at the bottom. (I don't hear a sudden improvement over previous installments, although the previous, admirable reviewer does.)

As for Op. 90, I find Schiff just as committed, but his attack is punchy and his phrasing somewhat fussed over at times, as is usual with this pianist. However, those are minor objections this time in the face of his total involvement. The songfulness of the second movement is quite touching. The opening of Op. 101 tests a pianist's instincts for romantic rubato, and I think Schiff passes beautifully (he's Keats and Shelley combined compared to the stalwart Gilels). Schiff avoids sounding clangy and bangy in the Scherzo, although for me his touch is a bit clipped. The little slow movement passes by as mysteriously as a haiku. The finger-crippling fugue in the last movement is handled with strength and ease – one so often feels uncomfortable for pianist who fight the instrument. And I agree with the previous reviewer that it's refreshing to hear late Beethoven played with wit and jollity.

In all, a real success and a tribute to Schiff's mature gifts. (Fantas Fe Listener)

NOTE: This is hanswurst, for whatever reason, I lost my password and wasn't able to recover it … even though I tried it three times today (even received the mail with a new password, but login always failed.)