Document

  1995
    September 1995
        Instrumental
                Beethoven Piano Sonatas.

Beethoven Piano [Sonata] Sonatas – No. 8 in C minor, "Pathetique", Op. 13; No. 14 in C sharp minor, "Moonlight", Op. 27 No. 2; No. 21 in C, "Waldstein", Op. 53; No. 23 in F minor, "Appassionata", Op. 57. Wilhelm Kempff (pf).

DG The Originals (Mid price) (CD) 447 404-2GOR (79 minutes: ADD). From SKL901/11 (12/66).

It is entirely right that Wilhelm Kempff's playing of the Beethoven sonatas should be represented in DG's series The Originals, though it might be argued that, as representative anthologies go, this one has been rather lazily assembled – the four most popular 'named' sonatas taken from the 1960s stereo cycle.

This was the last of the three cycles of the 32 Kempff recorded. Technically, Kempff himself was on prime form, though there are times when the engineering comes perilously close to letting him down. At worst, the sound of the 1960s cycle is bright and dry, a touch rackety in places, and sometimes lacking a strong bass dimension. This is not a problem in, say, Kempff's elegant and light-filled reading of the Waldstein Sonata – or the Moonlight – but it could be said to compromise parts of the Appassionata. "Under the thunder of sforzati the structure of the universe breaks up. Lucifer, once the lightbearer, falls from heaven into eternal darkness. " The closing bars of the Appassionata as described by Kempff himself in the notes to the original stereo LP set. (Another trick missed: The Originals should have used Kempff's own notes, wonderfully expressive and succinct. ) The fact is, there is a greater sense of menace in Kempff's 1952 mono recording of the sonata, though it is less tidily played.

There is, however, much to enjoy here. The performance of the Pathetique is a special joy, a reading in which pathos never descends into melodrama, or rhythmic drive into graceless flight. And how wonderfully of a piece with itself it all is. In his original notes, Kempff had spoken of the 'indissoluble' unity of the Grave and the Allegro di molto e con brio. And how effortlessly that insight is conveyed in the performance itself.

The art to disguise art is a gift from the gods; and they bestowed it on this sublime talent in more than usual measure.

RO



		It is entirely right that Wilhelm Kempff's playing of the Beethoven sonatas should be represented in DG's series The Originals, though it might be argued that, as representative anthologies go, this one has been rather lazily assembled – the four most popular 'named' sonatas taken from the 1960s stereo cycle.



		This was the last of the three cycles of the 32 Kempff recorded. Technically, Kempff himself was on prime form, though there are times when the engineering comes perilously close to letting him down. At worst, the sound of the 1960s cycle is bright and dry, a touch rackety in places, and sometimes lacking a strong bass dimension. This is not a problem in, say, Kempff's elegant and light-filled reading of the Waldstein Sonata – or the Moonlight – but it could be said to compromise parts of the Appassionata. "Under the thunder of sforzati the structure of the universe breaks up. Lucifer, once the lightbearer, falls from heaven into eternal darkness. " The closing bars of the Appassionata as described by Kempff himself in the notes to the original stereo LP set. (Another trick missed: The Originals should have used Kempff's own notes, wonderfully expressive and succinct. ) The fact is, there is a greater sense of menace in Kempff's 1952 mono recording of the sonata, though it is less tidily played.



		There is, however, much to enjoy here. The performance of the Pathetique is a special joy, a reading in which pathos never descends into melodrama, or rhythmic drive into graceless flight. And how wonderfully of a piece with itself it all is. In his original notes, Kempff had spoken of the 'indissoluble' unity of the Grave and the Allegro di molto e con brio. And how effortlessly that insight is conveyed in the performance itself.



		The art to disguise art is a gift from the gods; and they bestowed it on this sublime talent in more than usual measure.