Within the past few months, RCA released a cd of Peter Serkin performing
three Beethoven piano sonatas: Opus 27, Nos. 1 & 2 (Moonlight) and Opus
57 (Appassionata). My previous experience with Serkin/Beethoven recordings
is limited to two Pro Arte cd's, one on fortepiano which includes the
Hammerklavier and the other a recording on modern piano of the Diabelli
Variations. I have affectionate memories of both recordings. The catalog
number of the new RCA issue is 63668.
I want to emphasize that this posting does not represent a survey of
particular Beethoven piano sonatas; it is a review of the Serkin/RCA disc
with the following alternatives used for comparison:
Russell Sherman - GM 2067, Opus 27, Nos. 1 & 2 (1997).
GM 2057, Opus 57 (1997)
Daniel Barenboim - DG 423577, Opus 27, No. 1 (1981).
David Bar-Illan - Audiofon 72009, Opus 27, No. 2 (1983).
Mikhail Petnev - Virgin 90737, Opus 27, No. 2 & Opus 57 (1988).
Claudio Arrau - Philips 422970, Opus 27, No. 2 & Opus 57 (1962/65).
Alfred Brendel - Vox 5056, Opus 27, Nos. 1 & 2 (1962/64).
Alfred Brendel - Philips 442787, Opus 57 (1994).
Robert Taub - Vox 7532, Opus 57 (1996).
Andras Schiff - Teldec 13159, Opus 57 (1996).
The Schiff Appassionata is part of a 3 cd set of Beethoven's Piano
Concertos conducted by Bernard Haitink. Robert Taub is not likely known by
many folks, but he has recorded the entire Beethoven piano sonata cycle for
Vox. As I remember, some list members have written poorly of this series,
and most of the reviews I read in the past were not complimentary. On the
other hand, a Fanfare reviewer recently placed the Taub set in the Fanfare
"Hall of Fame". Russell Sherman has been mentioned recently on the List in
reference to a Liszt recording he made; fortunately, he has recorded much
more Beethoven than Liszt and did the entire cycle for the GM label.
Concerning reviews of Serkin's new disc in periodicals, they have ranged
from considering him a natural Beethoven pianist to categorizing him as
a safe and somewhat boring choice. I'm dubious about that latter review
since Serkin starts off in track one of his disc with a very slow Opus 27,
No. 1 Andante. It is anything but safe.
As some of you know, I spend a great deal of time listening to Bach
keyboard recordings. I tend to turn to Beethoven when I'm mad and have
much energy or when I get very tired of life's conventions. Bach brings
order to my life; Beethoven gives me freedom.
Piano Sonata Opus 27, No. 1 in E flat major - Both this sonata and the
Moonlight are designated "Sonata quasi una Fantasia" which indicates a
degree of improvisation. No. 1 was written in 1800/1801 and dedicated to
the Princess Johanna von Liechtenstein. There are frequent variations of
character in the work which are pitted against one another.
The first movement is Andante-Allegro-Andante. It starts off in an
introspective and somewhat mysterious manner with two themes. The middle
section Allegro is vigorous, whimsical, and reckless with a cutting 6/8
meter. When the Andante returns, only the first theme is repeated and its
voices inverted. The sudden change of mood from the Andante to the Allegro
can be stunning and destabilizing. The timings of the respective four
versions are significant: Brendel well under five minutes, Sherman a
little over five minutes, Barenboim well over five minutes, and Serkin
at six minutes.
Among Sherman, Barenboim, and Brendel, I definitely prefer Brendel in the
first movement. His Andante is very quick with excellent characterization;
it's brooding, exciting, and possesses strong yearning. This is not your
usual relaxed interpretation. Brendel's Allegro alternates between
passages of great strength/anger and 'runs' which are exquisitely seamless
and whimsical. The performance is outstanding. Barenboim is fine with
a relaxed Andante and the strongest Allegro. Sherman has the problem of
being in "no-man's" land. His Andante is not very relaxed, expressive,
lovely, exciting, or much of anything else - generic music making. The
Allegro is better but Sherman's runs are not precise or attractive.
Serkin is quite different from Brendel. The Andante is very slow but
packed with character; it's also supremely beautiful. Brendel was
certainly not looking for beauty with his Andante. The Serkin Allegro
does not possess that extreme mood change from the Andante that a listener
might expect to encounter; Serkin's Allegro is lovely as the Andante
and has fantastic runs. Adding it up, Serkin and Brendel are wonderful
alternatives in the first movement; one savors the music, the other charges
ahead. Barenboim is a safe and mainstream choice. Sherman sounds good on
his own, but direct comparisons do him no favors.
The second movement, Allegro molto e vivace, is a short scherzo and trio
in the classical sonata fashion. The Scherzo has wide mood changes of a
violent nature promoted by abrupt three-note phrases, and the Trio is a
haven for syncopation.
Brendel becomes quite ordinary in the second movement. Neither his Scherzo
nor Trio is particularly expressive; his pacing and rhythm offer little to
enjoy. Barenboim is better in all respects, and Sherman easily surpasses
Barenboim. Sherman's Scherzo has immediate and subtle urgency that I love,
and his Trio is among the best I've ever heard; the pulse and accenting are
delicious. Serkin's Scherzo is mysterious and appealing; however, his Trio
is no better than Brendel's. It's as if Serkin is not comfortable with the
music. His first movement was a winner; the second is not. I have the
highest affection for Sherman's second movement.
The third movement in A flat major, Adagio con espressione, is music of
nobility and economy which leads with slight pause into the fourth movement
Allegro vivace. Of the four versions of the Adagio, three have similar
timings a little over three minutes; Peter Serkin is in the four minute
range. Although the other versions are well played, I favor Serkin's
slower reading. With the additional minute, Serkin has the opportunity
to really examine each note and phrase; he does so magnificently and
beautifully.
The fourth movement is of generally agreeable mood, quite playful, and
forceful. Often during the movement, it sounds like a mad-cap dash to
the finish line is taking place. The music is dominated by a continuous
sixteenth-note symmetry and has frequent and sudden changes of expression.
There's also a "devilish" element that sneaks up now and then. Another
interesting aspect is that the primary theme of the third movement is
reprised toward the conclusion of the work; then the dash-like coda takes
over.
Some of Brendel's accenting is weak, but he possesses strong momentum. My
problem with his performance is that the texture is relatively sparse; I
prefer a fuller sound for this music. Barenboim is superb. The mad dash
really hits center stage in his reading, the devilish mood is strong, and
the accenting is near perfect. Barenboim's power and poetry are a great
combination. Sherman's phrasing is a little awkward sounding at times, but
his reading has more characterization than Brendel's. In this company,
Serkin is competitive but not excellent. His version is the slowest and
drags at times; tonal beauty often eludes Serkin.
Summary - Each of the four versions has strong virtues in the E flat major
Sonata. They just keep taking turns performing excellently. Peter Serkin
does best when he concentrates on capturing the beauty in the work, and he
often gets to the core of that quality. On the debit side, he sometimes
has trouble balancing beauty with the heavier and more angry/ferocious
aspects of Beethoven's music. This shows up clearly in the second movement
Trio and the fourth movement; he sounds somewhat adrift to me. In
conclusion, Serkin is as good or better than the three other artists.
That doesn't mean that his version is among the best in recorded history;
it isn't close to that level. However, it gives me much pleasure and I
consider it a fine and competitive performance of one of Beethoven's less
played piano sonatas which I think deserves greater recognition.
Don Satz
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