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| Beethoven: The Piano Sonatas, Vol. 7 | 
 enlarge | List Price: $17.98 (€14.20)
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Avg. Customer Rating:  (based on 2 reviews)
Sales Rank: 2308
Category: Music
Publisher: Ecm Records
Studio: Ecm Records
Manufacturer: Ecm Records
Label: Ecm Records
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 4.9 x 0.4
MPN: 001190602
UPC: 028947661894
EAN: 0028947661894
ASIN: B001AVUABW
Release Date: September 30, 2008
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck | | • | Nicht zu geschwind und sehr singbar vorgetragen | | • | Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo | | • | Lebhaft, Marschmaessig. Vivace alla Marcia | | • | Langsam und sehnsuchtvoll. Adagio, ma non troppo, con affetto | | • | Geschwinde, doch nicht zu sehr, und mit Entschlossenheit. Allegro | | • | Allegro | | • | Scherzo. Assai vivace | | • | Adagio sostenuto | | • | Largo - Allegro risoluto |
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| Customer Reviews:
Schiff surpasses himself this time around November 24, 2008
0 out of 1 found this review helpful
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.
Penultimate perfection October 8, 2008
14 out of 14 found this review helpful
This is by far Schiff's greatest achievement in the cycle to date. Every single one of previous six installments offered uneven performances. On the lower end of the spectrum sit Schiff's interpretations of the opus 2 set, conceived on an overly broad and lyrical scale. Schiff missed the joy of opus 10/2. The second movement of opus 78 was absolutely devoid of the requisite humor necessary to pull off the work. And opus 31/3 received a particularly wooden performance. On the other hand, Schiff's opus 13 was not only the highlight of the second installment of the cycle, but is also one of the most convincing interpretations of the Pathetique on disc. Like his interpretation of the Pathetique, Schiff's conception of opus 57 eschews the hysteria of so many performances by focusing on the great architecture of the Appassionata. Schiff's finger work in the finales of opus 10/1, opus 27/2, and opus 81a is simply astounding. But none of the previous recitals offered a simultaneously enjoyable listening experience coupled with equally successful interpretations ... until now.
It is almost a shame that Schiff did not have such a stunning recital until his penultimate installment, but the performance is so wonderful and winning that I can forgive the relative unevenness of his previous outings.
Right from the opening chords of opus 90, the performance is perfect. Schiff captures the mercurial autumnal shifts within the first movement, quickly moving from power declamations to gentle song. He so perfectly captures the chamber-music effects of the music, all the while perfectly projecting the music's emotionalism. The second movement, which many performers have difficultly relating to the previous movement, flows naturally and beautifully out of the first. Schiff's tempo perfectly captures the music's song-like character. Schiff's playing, which is often prone to moments of preciousness, fully captures the idiomatic character of the music.
Opus 101 is, if anything, even more astounding. Schiff's lightness of touch and extraordinary technique serves the opening movement better than nearly any other performance. The movement, just shy of four minutes, comes and goes as quietly as a dream. The reading is simply stunning. From the quiet of the first movement comes Schiff's appropriately humorous and rollicking march. It is nice to hear Schiff playing into Beethoven's humor rather than against it. The effect is delightful, Schiff capturing the binary between unbridled energy and sublimated anger perfectly. At the close of the sublime third movement, the ghost of the allegretto is absolutely chilling, Schiff expertly capturing its dual function as both a unifying and transitional force. As an expert counterpuntalist, Schiff's finale is miraculous. The voices in the fugue are all clearly delineated and are dispatched perfectly. And the close of the sonata, with its hushed beauty, is worth the price of the disc alone.
Schiff's opus 106 may not be the most "hammery" Hammerklavier on disc, but on the whole, it is certainly one of the better overall conceptions of the work on disc. That is not to say that Schiff does not instill both outer movements with the requisite drama. But it is never drama for drama's sake. Rather, it all fits in within Schiff's no-nonsense approach to the sonata. The first movement is briskly paced, but faithfully pits Beethoven's huge orchestral outbursts against moments of lyrical introspection. The scherzo is lovely - although the large run before the return of the scherzo sounds a tad self-conscious. At slightly over 15 minutes, Schiff does not draw out maudlin sentimentality from the f-sharp minor adagio; rather his conception of the movement is much more powerful and strong-willed than many. Schiff highlights the violent contracts of mood quite effectively while never loosing sight of the structural arch of the movement. While it could be argued that Schiff begins the finale in a bit of a perfunctory manner, his approach is appropriate as an outgrowth of the adagio. Of course, Schiff's handling of the fugue is astounding; rarely has the finale sounded less clogged than it does in Schiff's hands.
Although I always thought Schiff's intellectualism harmed his readings of Beethoven's overt earlier works, his highly sensitive genius serves the late sonatas perfectly. His delicacy of touch creates some magically otherworldly effects, while his fortes are full-bodied, powerful, and exciting. Furthermore, the sound of the piano in this installment is beautiful. It seems ECM has, in this seventh outing, finally learned how to capture the bright timbre of Schiff's instruments in the Tonhalle. The reverberations create the effect of the concert hall while never sounding cavernous. The upper registers never sound brittle, as they were prone to do in the previous installments. All in all, what a wonderful disc that will please any Beethoven connoisseur and will come as a pleasant and welcome surprise to all who have been collecting the sonatas to date. With only the last three sonatas left to be released, I hope Schiff can duplicate his efforts here. If so, Schiff's cycle, while perhaps not definitive, will certainly go down as one of the better and certainly one of the most fascinating cycles in the history of the sonatas.
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