Todd Reviews Gulda's Beethoven Cycle
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By Todd #4414 - 02/06/06 02:08 PM (199.43.48.67)
Last spring I contracted a serious case of Elveebee Fever and
started snapping up sets of the complete piano sonatas by the Bonn
master seemingly without end. To date Ive acquired sixteen cycles
and have written summaries of my impressions of the cycles. Of
course, these cycles are not my first forays into this repertoire.
I already had seven complete cycles, with my benchmarks being Annie
Fischers Hungaroton set and both of Wilhelm Kempffs complete sets
(though I really want his incomplete 30s cycle, too), along with
Artur Schnabel, John OConor, Jean-Bernard Pommier, Claude Frank,
and Walter Giesekings incomplete set on Tahra, as well as gobs of
single discs by various other pianists. But you know how it is: No
one can ever hear enough Beethoven, especially once afflicted like
me. Now, I did not and do not plan on being especially systematic
in choosing which cycle to hear; I just buy whatever I want or
whatever I can find on the cheap. My normal method of reviewing is
to write up a brief (Ha!) summary after listening to a batch of
sonatas, so what follows will be an amalgamation of different posts
for each cycle under consideration. So as to not overdo it, I plan
on posting one or two reviews (some are done in pairs sort of) each
week or so. At some point in the not too distant future, Ill catch
up to my current reviews (Im working through two cycles now), and I
will begin posting the reviews as they are written. This is all
very self-indulgent, I know, but what the hell? So, here goes:
Friedrich Gulda Amadeo cycle (1967)
What would happen if you could combine, in one pianist, the best
traits of some of the best pianists? Say you could combine the
passion of Annie Fischer, the mercurial wit of Artur Schnabel, the
serious-mindedness and technical acumen of Maurizio Pollini, and
even a degree, however small, of the tonal grace of Wilhelm Kempff.
Youd end up with Friedrich Gulda! Okay, I exaggerate, but only a
bit. While its not possible to combine all of those elements to an
ideal degree hence the impossibility of any one pianist being able
to play this New Testament of the keyboard perfectly it is possible
to experience a pianist who encompasses them to a certain degree.
Friedrich Gulda does that to an extent.
Since receiving the complete piano sonata and concerto cycle
yesterday, Ive already managed to listen to the first seven sonatas
and the Emperor. Ill save my thoughts on the concertos for later,
and will instead focus for now on the early sonatas. Gulda is
almost uniformly superb. Almost. Ill just start with the Op 2
sonatas. These are winners! Unlike a number of other pianists,
including even the great Wilhelm Kempff, Gulda takes all of the
works at a refreshingly brisk clip. Some may find his tempi a bit
too fast at times, with Allegro sections veering closer to Presto
relatively often. But thats a good thing. The first sonata is
delectably delivered: Guldas articulation is truly remarkable, each
note so utterly clear and perfectly executed, and the textures so
clear, that one revels in all of the puckish humor while never once
losing sight that this is Beethoven. (See, Schnabel meets Pollini.
I wouldnt have thought it possible.) The closing movement is very
swift and quite passionate, at least compared to some accounts.
Sure, Annie bests him in this department, but the lighter sound
benefits Mr Gulda. The second and third sonatas leave the indelible
impression of a pianist moving from strength to strength. Perhaps
one may want to hear more of the influences of Haydn and Mozart
though those influences can be heard and perhaps the unrelentingly
determined passion of Ms Fischer still makes her impossible to top
in my book, but Mr Gulda now assumes a place of pride in my
collection of the first three works.
The Op 7 is not quite as successful. The watchword here is speed.
The next watchword? Swiftness. Gulda brings the whole thing in at
just over 25 minutes, and at times the excessive reliance on speed
detracts from the piece. The opening movement, for instance, more
or less completely lacks a nice, flowing feel. Theres no early,
quasi-Pastorale (as in Op 28) feel. For those who like jaunty,
punchy playing, this recording is a feast, though. The second
movement, though labeled Largo never really lingers or hangs on an
idea in the fashion I like. Its swifter, emphasizing that clear
articulation. Guldas tone, which varied rather nicely, if within a
limited range, in the first works, here is relegated to either a
coarser, more percussive and sharp staccato with little in the way
of pedal enhanced flavor or to an unusually dainty and quiet,
feathery sound. Take those delicious little three note arpeggios
about mid-way through; things go from near-hammering to too soft.
Wheres them notes? I wondered. Anyway, as the final two movements
are played, the unyielding swiftness remains. Clearly this isnt for
me? Well, I noticed something. As well as I know this piece, I was
listening unusually intently more so than when I last listened to
it just over a month ago, in John OConors extraordinary rendition
and I noticed my toes, they were a-tappin! This is thought
provoking pianism, even if its not perfect.
My final works for now are the Op 10 sonatas. Tis back to form!
Like Claude Frank, Gulda launches the first sonata very quickly and
succeeds marvelously. Hes not straining, and his rock-steady
rhythmic prowess ensures that the right hand can crank out the
melodies while the left hand keeps everything on solid ground, as
it were. Perhaps his experience playing jazz helped here, who
knows? One thing is certain: that rhythmic prowess is there in each
of the first seven works. Anyhoo, back to the sonatas. After the
rapid-fire open, its on to an equally successful second and then
third movement. The finale is a joy. So, too, is the entire second
sonata, including that almost incomprehensibly delightful Presto
finale. Here Gulda doesnt ever push the speed barrier; it is never
in danger of veering into prestissimo territory. Its more of the
same for the final sonata, and here Friedrich is right on target in
every way. Indeed, as a set, this emerges as the only uniformly
credible rival to Claude Franks take on this batch. A welcome
addition to my collection, indeed!
I shall post my reaction to more sonatas from time to time as I
work my way through the cycle. (I dont think it will take very
long.) For the boring physical attributes: the piano sound is
close, immediate, and dry, with a bit of break-up in some very loud
passages (though blessedly few so far), and dynamic range, while
quite good, is not as good as can be had. That written, it does
hang between and behind the speakers well enough. Amadeo did a good
job. Decca did an even better job by repackaging it as a budget box
five years ago. I cant wait to hear more!
----
Another couple days, another seven sonatas. And this time Gulda
goes from strength to strength. Going in sequence how else to
optimally enjoy LvBs sonatas? I started with the Pathetitique, and
what a treat! While Gulda established his ability to play quickly
from the start, and while he certainly does that here, its not his
only trick. The work opens in dramatic fashion, with nice pauses
between the chords, and then Gulda goes onto play nice n quick. He
never just lets loose, though, keeping everything under control but
always passionate or at least just this side of passionate. It is
an excellent reading that compares favorably to anyones.
The two Op 14 sonatas both fare well, but Guldas tendency toward
seriousness prevents them from assuming that charming aspect that
Gieseking brings. No matter: fleet fingerwork and ultra-clear
textures combined with Guldas remarkable rhythm makes em enjoyable.
My toes were tappin again.
Op 22 hits like a ton a bricks. Here, Gulda is all speed and drive,
all constantly supported by his remarkable sense of rhythm did I
mention Guldas rhythmic abilities? and all of the most complicated
passages are dashed of with ease and brio and damned if I didnt
detect just a hint of nonchalance in the air. This is without
question one of the best versions Ive heard of this work, probably
superceded only by Jean-Bernard Pommier. It kicks ass!
So does the Op 26. Gulda starts out quickly, but then he changes
moods at just the right time, his percussive, borderline-sharp tone
doing wonders for the piece. The funeral march comes off
splendidly, but in an appropriately macabre sort of way, and it is
decidedly Beethovenian. That is, it fits within the sound world of
the Bonn born master. Claude Franks tale, which may still be my
favorite (Ill have to listen soon to know for sure) includes some
inspiration from Chopins great funeral march, but boy, oh boy am I
glad to have Gulda in my collection!
Ditto the first of the two Quasi una fantasia sonatas. I admit to
preferring the first, and dammit, I hate to sound like a broken
record, but Gulda again goes straight to the very top! Quick,
jaunty, heavy and light as needed, always flowing forward, with
some punchy playing here and flowing playing there, heres another
case where I listened so intently I blocked out everything else,
including the beginning of dinner. And I like dinner. Im hard
pressed to really think of a version I like a whole lot better.
Maybe a detail or two, but probably not the whole thing.
The Mondschein fares very well, too. This probably over-recorded
work starts of slow n somber, with a dash of moodiness thrown in,
transitions to a perfectly paced and sprung second movement before
the rapid-fire concluding movement reveals all it can reveal.
Yes, this is turning out to be one fine cycle, if one for those who
like their German music suitably German. Seriousness and
meticulousness are increasingly becoming the hallmark traits of
this pianist. And did I mention Guldas got rhythm? My opening from
my last post still stands he does combine a number of traits but
hes quite a serious guy overall. God, I need to hear more!
----
Another day, another six sonatas. (Well, I guess you can count the
two itty bitty ditties grouped in Op 49 as sonatinas, but you get
the idea.) My opinion of the esteemed Mr Gulda grows with each day.
Today I celebrated the end of another dismal, unrewarding workweek
er, um, I mean five glorious days of unique challenges and growth
opportunities by listening to some core Beethoven. The Op 28 and 31
sonatas form one of the primary groups of works I use to assess a
pianist in this repertoire. If a pianist blows it here, they just
aint a great Beethoven pianist. Period. Mr Gulda has the makings of
a truly great Beethoven pianist.
I approached the Op 28 with a bit of weariness. Guldas approach to
the (somewhat) similar Op 7, while good and thought-provoking, just
wouldnt cut the mustard here. Apparently he thought the same thing!
While still on the quick side, his sound is more flowing and
relaxed and suitably pastoral in nature. Each movement is perfectly
sculpted, and I swear that each note can be clearly heard and was
completely thought through before the red light went on in the
booth. Its just plain fun to listen to.
More substantive yet are the trio of Op 31 sonatas. Again, speed is
the name of the game, sometimes dramatically so. (Should any
movement labeled Largo sound so Presto and still be so good?) The
first work is staggering. Nimble, dodging, alert Gulda unloads not
only his usual speed, seriousness, and rhythmic perfection, but
also a suitable amount of drama, humor, and punchiness. Claude
Frank has a new challenger. I think its time for a shoot-out!
Better yet is the Tempest. I do believe I have a new favorite.
Wilhelm Backhaus has reigned for a while, his uncompromisingly
German sound and approach fending off all comers, most notably
Stephen Kovacevich, Walter Gieseking, and Mr Frank again, but along
comes Mr Gulda to show me the light. Impossibly assured playing his
fingers dodging in and out of harms way as he battles with this
piece Mr Gulda brings out the, well, the tempestuous nature of this
piece with its contrasting, moody movements. Its got real drive and
drama, and is so serious that it almost makes one want to read
Sartre. Almost. I cannot praise it highly enough.
Not quite as successful that is, merely exceptional when compared
to any recording by anyone is the last of the trio. Id say Gulda
makes the piece dance, makes it swing, but its too fast and
propulsive for that. Yes, speed dominates, but it works! Really,
really, really, really, really well. Really. I know in my mind I
shouldnt like it he brushes over some things to quickly but that
scherzo, that conclusion; forget my mind, Im following my tappin
toes.
The little Op 49 works come off about as well as can be expected,
the first one with a surprising gravitas. I always love revisiting
the second one to hear the a la carte theme from the Septet, and Mr
Gulda does not disappoint. This is shaping up to be a major cycle.
Perhaps Ill listen to more tomorrow.
----
Another seven down, with a couple doubled up. I started up with the
Waldstein, of course, and what a Waldstein it is! Guldas hallmark
traits are everywhere evident, and if ever one of Beethovens
sonatas benefits from rapid play with little in the way of overt
romanticism, it is surely this one. Gulda opens the work with a
nearly breathtakingly quick opening movement, and once again his
remarkably clear articulation and rhythmic sureness pay enormous
dividends. A quick second movement followed by a quick final
movement, albeit one with heaving and swelling playing, really
fills the bill. This goes straight to the top, sharing honors with
Rudolfs Firkusny and Serkin, John OConor (notable for making a more
romanticized version work), and of course Pollinis live account.
Next up finds the Op 54 sonata, and what turns out to be a
mini-slump in the cycle. Keep in mind that when I say slump I mean
merely very good to excellent, not staggeringly great. I cant
really pinpoint what it is about this work that doesnt quite work.
All of Guldas traits are there, and one would think they would be
enough, but even with every element in place and each admirable by
itself, it just doesnt click, or at least optimally click. Its
still very enjoyable, but when one considers Annie Fischers
crushing intensity, Sviatoslav Richters fleet and passionate
account, or Wilhelm Kempffs poetic and contemplative approach,
Gulda just seems to fall short. So he doesnt bat a thousand. Thats
okay.
The Op 57 is relatively less impressive still, and I had two to
choose from. The Amadeo recording is the relatively more successful
of the two. His omnipresent speed, flawless staccato and generally
urgent drive all work quite well, but hes somewhat rigid in overall
conception and doesnt bring enough passion to the piece. In this
work, obviously, that just will not do. Less successful is his 1973
Decca recording. Here, Gulda allows himself more breathing room,
more flexibility, especially in the first movement, and he manages
to extract substantially more passion. Its just not quite enough.
The second movement comes off quite well, and the final movement
starts off promisingly enough, but he again lacks that last bit of
power, and he cuts the third movement repeat. That does the
interpretation in. Without it, the piece comes to an end much too
quickly, and I sat there thinking to myself: Thats it! That cant be
it! Crap! The Decca sound is markedly different from the Amadeo
sound: it is much richer, with far greater lower register weight,
but the low frequencies overwhelm the middle and upper registers a
few times, and the whole thing sounds oddly distant and veiled.
Sounds like Gulda didnt get Deccas top engineers. Ill take the
closer, dryer, leaner sound of the Amadeo recording any day. So,
Annie Fischer still overwhelmingly dominates this work, with only
Richter able to muster a truly satisfying alternative. (And at
least two of em at that!)
Next up are the two little sonatas, Op 78 and 79. (I usually
consider them together.) Guldas back in fine form here. The two
versions of the Op 78 have so much in common as to make any
distinction between them rather futile. Richly, strongly, and
quickly dispatched, they both come off very well indeed. Same with
the Op 79, though the mood here is suitably livened, and those
delicious and hilarious out of tune notes are perfectly done. These
recordings fare quite well when compared to anyone elses.
Both the Les Adieux and Op 90 sonatas come off quite well, but both
also fail to reach the summit of interpretive greatness. Heres
where Gulda needs to start adding more tools to his formidable
arsenal. While one can hear the emergence of a more contemplative,
introspective, indeed philosophical sound, its not quite enough.
Granted, neither one of these works aspire to the same things that
the last five sonatas do, but I find that how an artist approaches
one or both of these early late sonatas, if you will, tends to
predict the relative success of the crowning achievements in
Beethovens solo piano output. Of the two, Id say the Op 90 fares
better, which is certainly good news for the last five, as he opens
strongly enough and doesnt delve into quickness for the sake of
quickness. This is serious business for Gulda, as it should be.
(Can you imagine light-hearted late Beethoven?) So, they are
excellent, dont get me wrong, and Ill no doubt spin them both again
many times, but they aint the greatest. That written, I now feel as
though I need them. After all, how else can one arrive at the truth
in these works? Now its time for the late sonatas.
----
I had nothing to worry about. Op 81a and Op 90 both fared well, but
represented a slight step down in quality from the best recordings
in the set, but in the last five sonatas, Gulda returns to form.
The Op 101 comes across as remarkably and powerfully compact, the
powerful utterances of the final movement bold and controlled and
probing. Gulda maintains his penchant for quick speeds and he does
through all five works but he is so assured in his interpretation
that nothing ever sounds rushed or out place. Things can sound
choppy from time to time, I suppose, but only when they should. A
slight though not entirely unexpected sigh of relief was
forthcoming, followed by a deep breath.
Which was needed for the Op 106. This is a work for the heaviest of
heavyweights Pollini, Serkin, Annie and now I can add Gulda to the
list. This is a staggering, stupefyingly great reading. Gulda comes
flying out of the gate, but under absolute control. Sharp accents;
strong, spiky staccato playing; a thundering, thrusting opening
theme: Its got it all. Its an almost breathless experience for the
listener, and invigorating. No ponderous, thick opening this! The
second movement is dashed off with brio and dynamism to match
anyones. Then the magnificent slow movement, here taken markedly
faster than normal, engrosses ones attention during each note, each
phrase, each chord. It is desolate and haunting and moving and
searching, all in the appropriate proportions, and all at the right
times. The grand fugal conclusion is as breathtaking as the opening
movement perhaps more so. Guldas playing is beyond assured,
achieving sublime mastery as he spins off each contrapuntal section
with ease, brio, and, perhaps oddly, sternness. This is serious
business, but he likes being serious. Overall, this is the second
fastest version of this work I have heard at just a few seconds
over 37 only Gieseking is faster, and nowhere near as successful
and it is everything I hoped for and more. A few hints of steel not
only dont hinder the recording, they actually enhance its stature.
The final three works all inhabit a similar, wonderful world in
this set. Again, Gulda plays briskly, but it never intrudes on the
proceedings. All that contemplative, philosophical goodness
contained in these three works is amply displayed. The 109 opens
strongly, moves quickly through the compact middle section and
unfurls magnificently through the concluding variations. Even with
his tempi choices, when an air of slowness is appropriate, it is
there, even though the notes go by the way they do. This is even
more profoundly realized in the opening to the 110. Ethereal and
marmoreal at the same time, its as though time stands still. The
grand ending movement is as wondrous as that for 109, but also just
a bit better. How, I dont know. I cannot describe it. Throughout
these works, Guldas tone is more varied and his touch more nuanced
than in many of the earlier sonatas. One just sits in wonder.
The concluding C minor sonata possibly, possibly Beethovens
greatest sonata comes off remarkably well, if perhaps not as
comparatively well as the preceding three works. He just tears into
parts of the opening movement, belting out the dark, ominous
sounding chords with ferocity and intensity perfectly fitting what
is to come. And what is to come is a meticulously, swiftly played
final movement, with a glorious Arietta followed by some variations
dashed off with remarkable speed and others delivered with just the
right degree of distanced contemplation. I enjoy this recording
more than the Orfeo recital recording, and indeed it rates very
highly overall, but the competition is stiff here. And rightly so.
So, yet another Beethoven sonata cycle down, and a welcome one it
is! So I guess I must ponder its relative worth as a whole, and
invariably it must be compared to my other cycles. Ultimately,
Annie Fischer remains my benchmark. Her serious, passionate,
uncompromising readings just get me every time. But Gulda, with his
serious, virtuosic, committed, and serious playing is not far
behind. (There are hints of lighter things as noted.) Had I got my
hands on this cycle seven or eight years ago, I may never have even
bothered with Ms Fischer. (Okay, thats unlikely; curiosity would
have gotten the best of me.) Gulda certainly rates right up there
with Kempff and Schnabel in my book. This is easily my favorite new
recording(s) of the year.
Bring on the Decca cycle!
Toddy
Steven de Mena
"Toddy" <todd...@yahoo.com> wrote in message
news:1148779562....@i40g2000cwc.googlegroups.com...
> What part of "don't copy and paste my posts" don't you understand?
>
Who are you talking to?
Steve
Toddy
>Who are you talking to?
Premise Checker. I already requested that he or she not copy and paste
my posts from other forums to this one. Apparently he or she is a bit
slow, or perhaps something else.
Phil Caron
- Phil Caron
Toddy
into the copy and paste thing.
fha.jonkers
Toddy schreef:
> What part of "don't copy and paste my posts" don't you understand?
PS never responds, so you'll have to email him.
Peter T. Daniels
"He or she" never visits the newsgroups it trolls (it never engages in
conversation), so it will never see your messages.
--
Peter T. Daniels gram...@att.net
Tweetie
It seems to use the group in write-only mode.