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 [log in to unmask]