贝多芬钢琴奏鸣曲录音概述（英文）[导读]
Ludwig van BeethovenPiano Sonatas: An Overview of Selected Recordings
By Ron Drummond
Any complete recording of a cycle as diverse as Beethoven's is going to be uneven, period. You will not find a be-all end-all. Nevertheless, I do think it's useful to have a complete recording by one artist, for the insights a single, refined sensibility can bring to Beethoven across the full range of his sonatas. But one should also consider supplementing a complete recording with additional recordings of individual sonatas by various performers.
Of complete sets, I highly recommend Richard Goode on Elektra/Nonesuch. Goode has been praised in almost all quarters as perhaps the finest surveyor of Beethoven's sonatas since Schnabel. He has all the chops and a wealth of feeling and insight to convey. The recording is state of the art. Though superb throughout, Goode is at his best in Sonatas 12-18.
Another cycle which alas is not yet complete is Jean Bernard Pommier's on Erato. Three multi-disc volumes (of an eventual four) have been released so far, and I for one am eager to have that last volume! Where Goode takes a Romantic approach to Beethoven, Pommier achieves an almost ideally Classical equipoise. He is fleet, sensitive, flexible, and very expressive. The recorded sound is among the best I've heard in piano recordings. Pommier is at his best in the first ten sonatas (works which I have a particular fondness for), but the later works are wonderful as well.
Jenö Jandó on Naxos is quite decent - if budgetary considerations are paramount, you won't go wrong getting his set. Like Pommier, Jando takes a classical approach, though at times he can be cold. While overall not as fine as either Goode or Pommier, Jandó need make no apologies, and he even occasionally beats the competition: his "Les Adieux", for example, is better than Goode's, much warmer. Jandó may not be the last word in these works, but again, as I said above, there is no last word. (A nice bonus in this set is the inclusion of Beethoven's three earliest sonatas, published in 1783 when the composer was 12.)
A word about Artur Schnabel. He was the first pianist to record all 32 sonatas, back in the 1930s. To this day, his performances are considered by many to be definitive. They are the yardstick against which all new performances are measured. Certainly, for anyone whose love for these works becomes a passion, Schnabel must eventually be encountered and reckoned with. The problem for me and for many of you will be the recording quality: tinny, noisy, 1930s mono. I finally broke down and got Volume 1 of the complete sonatas on the Pearl label. (Multiple CD remasterings of Schnabel have been released on a variety of labels; the experts all agree that Pearl is the one to get.) Frankly, I'm glad I came to Schnabel only AFTER getting to know the sonatas through other performers. I have a good sense of the range of interpretive stances that are possible in Beethoven, and that sense of range helps me to hear Schnabel better, to discern what's unique to his vision of Beethoven's works. After just a taste, I can say that I look forward to getting to know these recordings. There's a rough-hewn quality to Schnabel's fast movements that is quite charming; his insights are sometimes startling. But he takes those fast movements very fast, and I miss many of the insights I've heard elsewhere. His slow movements, however, are ravishingly beautiful, limitlessly fecund. Is Schnabel the be-all end-all, as so many claim? Of course not. But he is one of the finest, a groundbreaker, a pathfinder. My recommendation, especially if you're just getting into the sonatas? Save Schnabel till later.
As for supplemental recordings:
Murray Perahia's new Sony recording of Beethoven's first three sonatas (Opus 2) was an instant favorite for me. I love Opus 2, and Perahia plays these works with loving devotion, with enormous wit and generosity of spirit. On first hearing, I kept gasping at his many small felicities of emphasis and expression. Yes!
Another cherishable disc of early sonatas comes from Louis Lortie on Chandos. The Opus 7 sonata (Beethoven's longest prior to the Hammerklavier) had been largely opaque to me before I heard Lortie; he brings it home. Lortie is like a river: smooth, clear, unstoppable. The disc is coupled with ebullient readings of the two Opus 14 sonatas, and pianist Helene Mercier joins Lortie for the rare Sonata for Piano Four Hands, Opus 6, delightful fluff.
Ivan Moravec is one of the great Beethoven players. To those in the know, he is revered almost as highly as Schnabel. The audiophile label VAI has released two discs of Moravec's recordings from the 1960s, in demonstration-quality stereo sound. Volume 2 contains the most famous of Beethoven's sonatas - if you're looking for a first disc of these works, this is the one to have. And even if you already have several recordings of the standard warhorses, Moravec is essential.
For the late sonatas, get the Charles Rosen set of the last six on Sony Essential Classics. Recorded in the early 70s in excellent sound (right around the time Rosen's classic book The Classical Style was winning the National Book Award), these are deeply insightful readings, and the two-disc set sells for the price of one.
Lovers of the Hammerklavier Sonata should add Ursula Oppens' recording on Music & Arts to their collections. Do I really need to sing her praises? She is a pianist for the ages.
I love pianos from all periods in the instrument's relatively brief history. One thing many folks don't realize about "period" pianos is that every one sounds different - the design didn't become standardized until the 1870s. Before that, virtually every maker had their own design, their own variation on the relevant mechanisms. Many, if not most, fortepiano recordings are done on Anton Walter fortepianos, originals or copies - hence it's understandable that people make the mistake of thinking that because they've heard one fortepiano, they've heard them all. Not so. The sounds of some fortepianos take longer getting used to than others, but the variety of textures and sounds are fascinating to me, and hence a subtext of my collecting involves getting recordings of as many different makes of pianoforte as I can. This is a secondary consideration, coming after repertoire and performer in my considerations, but still something I'm very aware of when I buy Classical Era CDs.
I do believe that it is essential to hear Beethoven performed on fortepianos. Not the be-all end-all, mind you - but an absolutely essential supplement for anyone wishing open-mindedly to plumb the depths of these works in all the many ways they can afford. But again, I am one who believes that no single performance can exhaust the riches of any one of these masterpieces, and many fine performances can inter-illuminate one another in ways that are richly rewarding.
Of the current crop of Beethoven Sonatas on fortepiano, these thoughts:
Avoid Melvyn Tan. His popularity confounds me. I find his playing to be stiff, awkward, and unimaginative to a fault.
I wish Elektra/Nonesuch would release Malcolm Bilson's early-80s recordings of Beethoven sonatas on CD. I heard Bilson play live a few months ago, and his performance of the d minor sonata is the best I've yet heard, even with a few flubbed notes. It seemed he had absorbed the music into his deepest being, merged himself with it, and when he played it, the notes sang out from him - I swear, he played as though he'd humbly offered up his spirit to the spirit of the work, to the spirit of Beethoven, and the two joined and the music poured out, a single soul in sound. It made me want to cry.
I have mixed feelings about Paul Badura-Skoda's cycle on Astree - a sign in its favor, actually. Worth a listen.
Alexei Lubimov on Erato has released an excellent disc of Beethoven's sonata warhorses (Pathetique, Moonlight, Waldstein).
The best fortepiano recordings of Beethoven that I've heard are all on the Globe label, a superb record label based in Utrecht:
Ronald Brautigam has recorded two discs: early piano variations, and the first piano sonatas (opera 2 & 49). He plays a 1790s Walter. Full of life and sparkle, but searching where called for (the slow movements of Opus 2 positively sing).
The biggest find here, however, is Paul Komen. He's recorded three discs of Beethoven sonatas for Globe, a disc of the three Opus 31 sonatas, a disc of Opera 53, 54, & 57, and a disc of the last three sonatas, Opera 109-111. He uses a different fortepiano on each recording, and in each case one that is roughly contemporary with the dates of composition of the works in question. The man's amazing. I find in his playing an ideal balancing of the many positive but in some hands mutually exclusive qualities that are traditionally cited in discussions of piano performance. Komen is alive to the deepest implications of this music, and has the skill and the touch in spades to bring it out. All three discs are just urgently recommended.
RECOMMENDED RECORDINGS
Modern Pianos:
Richard Goode
Piano: unspecified
Sonatas 1-32
10 CDs, Elektra Nonesuch 9 79328-2 (1993)
Jean-Bernard Pommier
Piano: Steinway & Sons
Vol. 1, Sonatas 1-10: 3 CDs, Erato 2292-45598-2 (1991)
Vol. 2, Sonatas 11-20: 3 CDs, Erato 2292-45812-2 (1992)
Vol. 3, Sonatas 21-27: 3 CDs, Erato 4509-91727-2 (1994)
Jenö Jandó
Piano: unspecified
Vol. 1, Sonatas 8, 14, 23: Naxos 8.550045 (1988)
Vol. 2, Sonatas 17, 21, 26: Naxos 8.550054 (1991)
Vol. 3, Sonatas 1-3: Naxos 8.550150 (1991)
Vol. 4, Sonatas 30-32: Naxos 8.550151 (1988)
Vol. 5, Sonatas 5-7, 25: Naxos 8.550161 (1988)
Vol. 6, Sonatas 9, 10, 24, 27, 28: Naxos 8.550162 (1988)
Vol. 7, Sonatas 12, 16, 18: Naxos 8.550166 (1988)
Vol. 8, Sonatas 4, 13, 19, 20, 22: Naxos 8.550167 (1988)
Vol. 9, Sonatas 11, 29: Naxos 8.550234 (1989)
Vol. 10, Sonatas 28; WoO 47/1-3, Anh. 5 Nos. 1-2, WoO 51: Naxos 8.550045 (1989)
Murray Perahia
Piano: unspecified
Sonatas 1-3
Sony Classical SK 64397 (1995)
Louis Lortie
Piano: unspecified
Sonatas 4, 9, 10
Sonata for Piano Four Hands, Opus 6 (performed with Helene Mercier)
Chandos CHAN 9347 (1995)
Ivan Moravec
Piano: unspecified
Vol. 1: Piano Concerto No. 4, with Martin Turnovsky conducting The Orchestra of the Vienna Musikverein;
Sonata 27; 32 Variations in C Minor, WoO 80
VAI Audio VAIA 1021 (1963, 1966, 1992)
Vol. 2: Sonatas 8, 14, 23, 26
VAI Audio VAIA 1069 (1962-1970, 1994)
Ursula Oppens
Piano: Steinway Model D Concert Grand Piano #499072
Fantasia in G Minor/B Major, Opus 77; Sonatas 11, 29
Music & Arts CD-734 (1992)
Charles Rosen
Piano: unspecified
Sonatas 27-32
2 CDs, Sony Essential Classics SB2K 53531 (1971, 1994)
Period Pianos:
Ronald Brautigam
Fortepiano: Paul McNulty, Amsterdam 1992, after Anton Walter, Vienna 1795
Early Piano Variations, WoO 66, 68-73, 75: Globe GLO 5095 (1993)
Sonatas 1-3, 19, 20: Globe GLO 5100 (1994)
Alexei Lubimov
Pianoforte: John Broadwood & Son, 1806
Sonatas 8, 14, 21
Erato 4509-94356-2 (1994)
Paul Badura-Skoda
Pianoforte: Caspar Schmidt, Prague c. 1810
Vol. 5: Sonatas 15-17
Astree E 8695 (1988)
Paul Badura-Skoda
Pianoforte: Georg Haska, Vienna c. 1815
Vol. 6: Sonatas 18, 24-27
Astree E 8696 (1989)
Paul Komen
Pianoforte: Salvatore la Grassa, Viennese school c. 1815
Sonatas 16-18
Globe GLO 5136 (1995)
Paul Komen
Pianoforte: Johann Fritz, Vienna 1825
Sonatas 21-23, Globe GLO 5118 (1994)
Paul Komen
Pianoforte: Conrad Graf, Vienna c. 1830
Globe GLO 5106 (1993)
Copyright © Ron Drummond, 1996. Beethoven's Piano Sonatas: An Overview
There's no perfect way to play Beethoven's 32 piano sonatas, but there are plenty of imperfect recordings available. Amazon.com contributor Stephen Wigler surveys the cream of the crop.
by Stephen Wigler
Artur Schnabel was the man who invented Beethoven. As the first pianist to record all 32 of the composer's sonatas, he was also the first to announce the existence of, and popularize, a world beyond the "Moonlight," the "Pathétique," and the "Appassionata."
His recording, made between 1932 and 1935 for what is now EMI Classics, is still available and remains in a class of its own among complete cycles. You can buy it as a midpriced EMI set, or you can pay twice as much to gather the same performances on the Pearl label.
The Pearls are worth it. Their transfers retain the prominent hiss of the original 78s, but also let you hear how Schnabel actually sounded. The importance of his occasionally sloppy passage work is diminished, because you hear more of his beautiful and varied tone, expressive trills, and subtle pedaling.
At the start of the 1950s, EMI decided to record another complete cycle of the sonatas--this time by the English pianist Solomon (he never used his patronym, Cutner). But in late August of 1956, the cycle was aborted. Just as the pianist was putting the finishing touches on three of the sonatas, he suffered a massive stroke. Those sonatas-- Opus 10, No. 3, Opus 90, and Opus 110--were the last Beethoven sonatas he was to record. The 54-year-old pianist was left paralyzed for the remaining 32 years of his life.
Solomon's Beethoven cycle would have replaced Schnabel's as the standard. His conceptions were utterly fresh, his interpretations were free of distortion, and his immaculate playing had a majestic sweep that made other pianists sound routine.
The first and final movements of his performances of the Sonatas No. 23 ("Appassionata") and No. 29 ("Hammerklavier"), for example, combine ferocity with power and accuracy. He refused to dally over tempting details, yet he was able to sustain extraordinarily slow tempos with unfaltering concentration. His tempo for the opening adagio of the "Moonlight" Sonata is the slowest ever recorded. Solomon seems to freeze the passage of time, creating intense emotional suspense that makes this most familiar of all classical music pieces pierce the heart anew.
One of Solomon's secrets had to do with control--of tonal dynamics and of rhythm and tempo. In other words, of how much and when. In the slow introduction to the finale of the "Waldstein," every note is graded and every note is punctual--the music moves with microscopic accuracy. In the succeeding rondo, the four-bar tune moves easily--so easily, in fact, that it sounds andante, though the marking is allegretto moderato. But it has the rhythmic and dynamic potential to let the rondo acquire overwhelming power and momentum.
Annie Fischer was one of the few pianists whose Beethoven did not suffer in comparison with Solomon's. This great Hungarian pianist played with clarity, intelligence, spontaneity, temperament, and force. Although she was never a Beethoven specialist in the Schnabel sense, she did give two complete cycles in Budapest in the 1976-1977 concert season. Those concerts were taped, and the Qualiton label was able to compile a complete Fischer Beethoven cycle on nine discs. They make for fascinating listening. When the adagio of Opus 110 is, at its darkest moment, suddenly infused with grace, Fischer can convince us that she's channeling the spirit of Beethoven.
Alfred Brendel has recorded the 32 sonatas three times--more than anyone else. The 20 years that separate his second (1976) and third (1996) cycles for Philips have brought both losses and gains. If Brendel's third version of Opus 81a ("Les Adieux") is more successful than his old one, it is because his searching musicianship and relentless attention to detail have led him to an even more satisfying musical conclusion. And if the pianist's most recent recording of Opus 110 is somewhat less transcendently beautiful than its predecessor, that is primarily because the pianist has decided to emphasize details in the concluding fugue--unnoticed by him before--that impede the music's rapturous ascent. For better and worse, Brendel has never been satisfied with what he has already achieved.
Richard Goode resembles Brendel in his intellectual fearlessness. Like Brendel, he points up unusual details; unlike Brendel, he rarely lingers over the wrong ones. Goode also possesses a superior technique that always meets, as Brendel's does not, the music's challenges: whether the trills of Opus 111, the gunpowder explosions in the opening movement of Opus 10, No. 3, or the stamina required by the "Hammerklavier" fugue.
If Beethoven's 32 sonatas are the piano repertory's Mt. Everest, then, as interpretations by Wilhelm Kempff (DG) and Claudio Arrau (Philips) demonstrate, there is more than one route to the summit. Kempff's Beethoven is witty, gracious, and full of light; Arrau's oracular, serious, and dark. Kempff is at his best when Beethoven is at his most subtle: no one else is more successful at suggesting the yearning in the first movement of Opus 101 or conveying the magic of the counterpoint in the same sonata's concluding fugue.
Arrau is not temperamentally suited to the lighter-weight works that Kempff plays so well; his occasionally ponderous seriousness keeps his Beethoven from smiling. But he can produce revelations in the composer's monumental works. No one ever played Opus 111 better. Arrau makes the first movement sound like the thunder that precedes a deluge, and he plays the chains of ascending trills in the final one so expressively that a listener may well feel transported.
After 20 years working as a music critic for newspapers in New York, Florida, and Maryland, Stephen Wigler now writes about music from his home in Baltimore. 好多阳文，看了头晕。
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