Ludwig van Beethoven: 1770-1827

Piano Sonata #23 in F minor, Op. 57 "Appassionata"
Piano Sonata #22 in E, Op. 54
Piano Sonata #25 in G, Op. 79
Piano Sonata # 4 in E flat, Op. 7

Stephen Kovacevich
EMI 56965

What does it mean to mean?  Is it just an average?

In the case of music, if not in all cases, I think it is better to ask
"how" do things mean? As I listen to Kovacevich's latest installment in his
Beethoven cycle this question comes to my mind.  The word that most often
came to mind over several listenings was "interesting".  I mean that in the
sense that his playing creates a sense of wonder and I want to learn more
about the music, I want to listen to other interpretations.  How does he
accomplish this?

It so happens that I am also reading an essay about Bing Crosby.  In it
the author cites a 1899 article from "Popular Science Monthly".  Talking
about how white singers can sound "Negro" Robinson Murphy wrote, "around
every prominent note [the singer] places a variety of small notes, called
'trimmings'." This is exactly the thing that Kovacevich does to the
Beethoven Sonatas.  The interplay between his hands, the phrasing produces
brain synapses that are almost tactile in sensation.

As I said, I wanted to listen to other interpretations.  For a modern
comparison I listened to Alfred Brendel's recording of the Appassionata
on Philips.  It was not nearly as involving, as interesting.  Listen to
just the opening where Kovacevich emerges like some elemental force while
Brendel merely is playing the music.  Kovacevich seems to be exploring the
music in search of some truth.  These comments apply as well to the other
pieces on this disc.

I could go on and on, but let's cut to the quick.  (What is the etymology
of that phrase?) Stephen Kovacevich is one of the two greatest living
pianists.  The other is Martha Argerich.  Given that I feel this way about
them, you may decide to disregard my review.  If so, you will have missed
a great recording.

I have listened to all of the previous releases in Kovacevich's cycle and
praised them all.  I know that Schnabel is held as a pinnacle and that
Solomon is likewise highly regarded.  I do not share the love of Schnabel
and while I do like Solomon, Kovacevich is special.  I really want to hear
if he can unlock the Hammerklavier for me.

Post Script:  As I listen to the Appassionata, Schubert comes to mind.  I
do not know the chronology of any compositions Schubert wrote at that time.
While I do know that Beethoven influenced Schubert, I never before heard
any Beethoven that sounded like Schubert.

The essay about Crosby was written by Gary Giddins and appeared in the 28
January 2001 issue of The New York Times.

After putting the finishing touches on this review I rewarded myself by
just listening to the entire disc and not writing a single word.

Peace from he who is Bob Stumpf