When Beethoven arrived
in Vienna in the early 1790s, he soon
made a strong impression with the musical
public, but as pianist rather than composer.
Contemporary evidence suggests that
his improvisations at the keyboard abounded
in brilliant ideas and featured sudden
changes of mood. Yet despite his individuality
Beethoven did not seek to break with
the tradition of the Viennese classical
style, the tradition which had drawn
him to the city. Rather his intention
was to modify the formal procedures
of the time, in order to suit his own
expressive needs. And nowhere can this
development be more clearly traced than
in the sequence of thirty-two piano
sonatas that span the entire period
of his years in Vienna.
This three CD set covers
what might be described as the ‘middle
period’ sonatas, by opus number at any
rate. For the two sonatas of Op. 49
date from earlier than the remainder
in this collection; from around 1797
rather than the early years of the new
century. It certainly shows, since these
are relatively simple pieces, of clear-cut
classical dimensions, strongly influenced
by the Haydn inheritance and perhaps
less individual than that master’s later
works. Not that they are weak compositions;
far from it, particularly in these purposeful
and dynamic performances, with clear
articulation and dynamic attack.
Perhaps it is no surprise
that the shorter, more direct pieces
should come off best in this collection
from Kun-Woo Paik. He excels at generating
a frisson of pianistic momentum and
articulated clarity of excitement. Witness
the Presto opening movement of the G
major Sonata, Op. 79. The tempo is perfectly
judged for maximum effect; so too the
balancing of textural detail. Moreover
the Andante slow movement is a model
of clear-headed articulation, with perfectly
balanced Decca sound.
That quality of sound
is a consistent feature, and that is
to be expected both because of Decca’s
pedigree and the fact that the recordings
were made in the same venue (Monmouth)
over a relatively short time-span.
If the shorter items
– Opp. 49, 78 and 79 – are the highlights,
some of the other performances raise
questions as interpretations. It would
be foolish to expect Kun-Woo Paik to
imitate other fine pianists, such as
Barenboim, Brendel or Perahia, but in
the more complex works such as the Waldstein
and the Appassionata the
shadings of dynamic, the ebb and flow
of tension and relaxation, seem too
often to invoke thoughts of opportunities
missed. For example the first movement
of the Waldstein, so much a study
in timbre and half-tones, is driven
and one-dimensional. The slow movement
does thoughtfully suggest the great
theme of the finale to follow, but when
that arrives the music does not quite
gain the remarkable poetic flow that
is its most potent characteristic.
Similar things might
be said of the Appassionata,
where they apply. Of course this sonata
has its own distinctive personality,
and Paik certainly generates a powerful
head of steam as and when required.
But the inwardness of the slow movement
is barely hinted at, and the Presto
coda to the finale is a wild dash that
fails to convince in terms of dramatic
release of tensions.
The other performances
lie somewhere in between. The alternative
approaches of drama and lyricism that
mark the opening movement of the Tempest
Sonata, Op. 31 No. 2, are well handled,
and slow movement moves at a genuine
Adagio, boldly and successfully using
the piano sonority as the music’s mainspring.
Likewise the Allegro vivace first movement
if Op. 31 No. 2 gets the piece off to
a dramatic and sparkling start, though
the grazioso element in the second movement
might have been more pronounced.
The celebrated Les
Adieux Sonata is the latest among
these works, dating from 1810. It has
abundant subtleties and many pitfalls
for the pianist. But Kun-Woo Paik undoubtedly
has the technique to avoid these, and
he chooses tempi well in order to create
balance, flow and line in a successful
and pleasing interpretation. Perhaps
the sound, as elsewhere, is a little
too close to generate an effective sense
of atmosphere, and this encourages a
certain ‘matter of fact’ quality in
the interpretation, where more poetic
insights might have been possible.
There are many interesting
performances among this collection.
While it is not a first choice recommendation
to challenge the famous pianists of
this and previous generations, there
remains much to admire, particularly
the clarity of articulation, the command
of technique and the daring of attack.
These were surely features that Beethoven
himself saw as priorities. It is in
the lyrical possibilities of these wonderful
sonatas that one might ask for more;
but it would surely be wrong to expect
any single talented pianist to provide
complete and seminal authority in this
repertoire.
Kun-Woo Paik will reward
the enquiring and sensitive listener,
since he has interesting interpretations
to offer and an abundance of technique
to support it. The insights he brings
are always worth hearing, though there
are more to be found besides. Such,
however, remains the challenge in performing
and appreciating this great music.
Terry Barfoot
Kun-Woo Paik (piano) 
