Beethoven Piano Sonatas Kemp

Alexei Lubimov’s 2010 disc of Impromptus by Schubert was praised in the press. During the same recording session in Haarlem in July 2009, Alexei Lubimov continued with the last three sonatas of Beethoven, Beethoven’s musical testimony which he plays with all the mastery of a great russian pianist, "a kind of russian Pollini" (Alain Lompech, Diapason).

Legendary piano master Richter imparts these three sonatas with all the intensity and intellect that made his playing famous. Orchestral solidity of sound makes the first movements immediately impressive. But the true scaling of heights comes in the slow movement of the C major [No. 3] a colossal psychodrama here and, unexpectedly, in the shadowy third movement of the E flat [No. 4]. The Op. 90 Sonata [No. 27] is mellower, never to the point of actually smiling, but unobtrusively responsive to the direction of Beethoven's thought.

Canada's Angela Hewitt would be on anybody's list of the world's great pianists, but she has been known as a Bach specialist. Her cycle of Beethoven's piano sonatas on Hyperion has, to an extent, been what you might expect: technically precise, individualistic, a bit idiosyncratic. What listeners may not have been prepared for is how high the highs are. Here it is absolutely essential to stick around through the whole program. Hewitt's Piano Sonata No. 17 in D minor, Op. 31, No. 2 ("Tempest"), has odd features: violent accents in the outer movements, and a curious de-emphasis of the octave ornament figure that plays such an important structural role in the slow movement.

Daniel Barenboim's performances of these three sonatas are quite simply flawless. Each movement of each sonata is played exactly as it it should be, both technically and artistically. I cannot imagine more intellectually and emotionally satisfying performances of these works. If you have come to regard these sonatas as over-played "warhorses" listen to this CD and enjoy them as the masterpieces which they truly are.

Daniel Barenboim's performances of these three sonatas are quite simply flawless. Each movement of each sonata is played exactly as it it should be, both technically and artistically. I cannot imagine more intellectually and emotionally satisfying performances of these works. If you have come to regard these sonatas as over-played "warhorses" listen to this CD and enjoy them as the masterpieces which they truly are.

Hungarian pianist Annie Fischer made her debut at the age of 10 and studied with Ernst von Dohnányi at the Franz Liszt Academy of Music. Her performance of the Liszt Sonata in B minor won Fischer first prize at the 1933 Liszt International Piano Competition, but her concert career was barely underway when war broke out; Fischer fled to Sweden. Afterwards Fischer returned to Hungary, and although she made her New York debut in 1961, she was only seldom seen in the United States and based her career in continental Europe.

I continue to find the whole of Perahia's recording stimulating and fresh. I said in my first review that the freshness of a still quite youthful player is there. With never a hint of gratuitous agitation, the sense of an invigorating energy being released in the act of performance comes across strongly; and I'm sure Beethoven would have loved it. As Perahia with the wind his sails carries you along—in the finale of the Appassionata above all—his virtuosity is special, electrifying in effect, transcendental, brilliantly illuminating.

There's some dazzling pianism on display here, but also a rare sensibility that enables Nelson Freire to plumb the depths of Beethoven's slow movements without ever sentimentalising them.

The second two-disc installment of a projected Beethoven sonata cycle from Christian Leotta offers individualistic interpretations that alternately hit and miss, sometimes within the same work. The “Waldstein” first-movement exposition and recapitulation exude power and polish, yet the development comes off too sectionalized and rounded off for the arpeggiated sequences to generate the dramatic tension we expect. Leotta’s deliberation in the Rondo yields gorgeous, alluringly blurred sonorities at the outset as he observes Beethoven’s long pedal markings, yet the extensive scales and rotary figurations run in place, moving nowhere until the Presto coda: too little, too late.