Piano Sonatas - Volume 2
Sonata in B flat major, Op. 22 (1800) [24:31]
Sonata in A flat major, Op. 26 ‘Grande Sonate’ (1800-01) [19:57]
Sonata ‘quasi una fantasia’ in E flat major, Op. 27, No. 1 (1801) [15:50]
Sonata ‘quasi una fantasia’ in C sharp minor, Op. 27, No. 2 ‘Moonlight’ (1801) [15:54]
Sonata in G major, Op. 31, No. 1 (1801-02) [23:24]
Sonata in D minor, Op. 31, No. 2 ‘Tempest’ (1801-02) [23:06]
Sonata in E flat major, Op. 31, No. 3 (1801-02) [22:35]
Sonata in D major, Op. 28 ‘Pastoral’ (1801) [24:33]
Sonata in G minor, Op. 49, No. 1 ‘Sonate facile’ (c.1797) [7:33]
Sonata in G major, Op. 49, No. 2 ‘Sonate facile’ (1795-96) [7:51]
Sonata in C major, Op. 53 ‘Waldstein’ (1803-04) [24:06]
Andante in F major, WoO 57 ‘Andante favori’ (1803-04) [8:16]
Jean-Efflam Bavouzet (piano)
rec. Potton Hall, Dunwich, Suffolk, UK, 16-18 January 2013 (Opp. 22, 26, and 27), 4-6 June 2013 (Op. 31), 20-22 September 2013 (Opp. 28, 49, 53, and Andante) DDD
CHANDOS CHAN10798(3) [3 CDs: 76:10 + 69:07 + 72:22]
I have not heard Volume
1 of Bavouzet’s unfolding cycle of Beethoven piano sonatas,
but I like his no-nonsense, clear-headed approach in the works
presented in Volume 2. It will be interesting to see how he does
in the final volume with the late works that require greater depth
and introspection. Except for the Andante, which was originally
conceived as the slow movement for the “Waldstein”,
I followed along in the piano scores for the works in this volume.
In general, Bavouzet is meticulous in observing note values and
dynamics, and maintaining steady tempos. There are a few places
noted below where he diverges from my score (Peters Edition, urtext)
but that could be the result of a newer edition rather than either
a misreading or deliberate divergence from the text. In any event,
these are very minor and do not negatively affect the pianist’s
interpretations. The dominant impression one takes away is the
sheer energy that the pianist conveys.
Bavouzet gives Op. 22 a light touch and plenty of brio in the
first movement, a deeply felt Adagio second movement,
a gentle minuet that could be a bit stronger and less refined
in the first section, and a final rondo that perfectly captures
the Mozartian spirit in the beginning before becoming powerful
and sounding like real Beethoven. Bavouzet begins the first movement
variations of the Op. 26 “Funeral March” Sonata with
deliberation and in a subdued manner, but builds well from there.
He then really nails the second movement Scherzo and
finds an ideal tempo for the funeral march with due weight on
the chords and close attention to dynamics. The finale is fast
and smooth and achieves real power in the minor key section.
Bavouzet has mixed success in the Op. 27 sonatas, though I have
nothing but praise for his account of Op. 27, No.1. He contrasts
well the opening Andante with the Allegro that
follows in the first movement with excellent staccato in the bass.
The slow movement in C minor has all the power necessary while
remaining true to Classical models, and he observes the “attacca”
designation before each of the final movements. The Adagio
third movement is deep and slow with a heavy tread, and the pianist
launches the finale with a light touch that never becomes heavy
handed. I have more problems with Bavouzet’s interpretation
of the famous “Moonlight” Sonata. I find him just
too plain in the first movement. At first I thought his tempo
was too fast, but it is at or near the norm. I much prefer the
recording Evgeny Kissin made in 1997 where the pianist inflects
the line without ever distorting it. His rubato here is of the
subtlest kind. On the other hand, Bavouzet is too slow and deliberate
in the delightful Allegretto minuet where Kissin is much
lighter and a bit faster, which gives the movement real lift.
The tables are rather reversed in the finale. Bavouzet is certainly
speedy and powerful enough, but allows the listener to really
hear the notes. Next to his, Kissin’s is a bit of a blur.
His is more prestissimo than presto, and while
undeniably exciting, I find it wears less well for repeated listening
than Bavouzet’s. So a mixed bag here.
The Op. 28, “Pastoral” Sonata, has always been one
of my favorites and one that I labored on for a number of years.
Bavouzet captures the spirit of the work with perfection. His
first movement has a sense of calm, but he does not treat it with
kid gloves. Then he takes the following Andante at a
brisk walk and observes the staccatos and sforzandos well. Everything
is light and clear, but with plenty of character. The Scherzo
is truly “vivace”, as marked, and in the
final rondo he also observes the “non troppo”
indication. The sonata ends in a burst of joy in Bavouzet’s
hands. This movement reminds me of the finale to Beethoven’s
Pastoral Symphony in its joyousness. A marvelous performance.
The three Op. 31 sonatas give ample evidence of Beethoven as the
mature master and one with a sense of humor. Bavouzet captures
the humor of the first movement of Op. 31, No. 1 with its opposition
of on-the-beat and just-off-the-beat chords to perfection and
is dazzling in his virtuosity throughout the movement. It is in
this movement (measures 46-49 in the Peters Edition) where there
is a discrepancy in the dynamic markings. The score has all of
the measures played forte where Bavouzet plays the first
one piano. I checked this section as played by Richard
Goode and he observes the dynamics as written. Perhaps Bavouzet
is using a different edition or decided to alter the dynamics
at this point. It certainly sounds fine that way and one would
not necessarily notice it unless one were following the score.
Bavouzet takes the second movement, marked Adagio grazioso,
closer to an allegretto, but performs it with gracefulness.
The final Rondo is marked allegretto at the start and
that is just how Bavouzet interprets it. He delights in the music’s
humor and concludes in a true presto con fuoco with a
sneakily quiet ending. Another terrific performance. The “Tempest”,
Op. 31, No. 2 is one of Beethoven’s most beloved sonatas
and I am sure everyone has a favorite recording. I have admired
Hélène Grimaud’s account on DG, but I now
prefer Bavouzet. In the first movement he emphasizes the contrast
between largo and allegro as does Grimaud, but
he brings out the right hand melody better than she does. Her
sound is denser and heavier, at least as it is recorded, and she
uses more rubato than he. This is true throughout the sonata.
The sections of the slow movement marked dolce have a
sweetness with Bavouzet that is more marked than with Grimaud.
In the finale, both have a nice, flowing tempo, but Bavouzet is
clearer than Grimaud and she rather overdoes the more combative
parts. Her sound becomes clangorous there. Hers is a bold account,
but Bavouzet does more justice to the work. Bavouzet turns in
a winning performance of the Op. 31, No. 3. His Allegro
first movement is energetic and he puts great emphasis on the
ritards and crescendos in the first five or
so measures. In fact, he slows slightly in the first measure marked
ritard and then much more so with greater emphasis two
measures later. Goode does the same thing in his account, but
not to such an extent. The wonderful Scherzo that follows
is the epitome of the dance as Bavouzet performs it and he relishes
its humor with the sudden fortissimo chords. The Minuet
is moderato e grazioso and that is exactly how Bavouzet
interprets it. He also pays close attention to the varied dynamics
in the Trio section. Again his finale is truly presto con
fuoco and played with rhythmic precision and power. It is
tremendously exciting. Another anomaly with the printed text arises
in this movement. There are two long-held chords near the end
that as marked should be arpeggiated rather than played as solid
chords. Goode rolls his, but Bavouzet does not. This is a small
matter, as I cannot imagine a better performance than Bavouzet’s.
Preceding the great “Waldstein” Sonata on the third
disc of the set are the two “easy sonatas”, Op. 49
Beethoven composed in the late 1790s that were not published until
1805; hence their higher opus numbers. Each is in only two movements.
The first sonata is Haydnesque and the second more Mozartian.
Beethoven adapted the minuet from the latter sonata for use in
his popular Septet for winds and strings. Bavouzet’s accounts
are perfectly fine. The set concludes with another of Beethoven’s
most famous works, the Op. 53, “Waldstein” Sonata
followed by the Andante movement he originally intended
as the slow movement of the sonata. Bavouzet conquers the “Waldstein”
as well as any pianist I have heard. The first movement is clearly
pianissimo and con brio at the start, becoming
wonderfully exciting as it proceeds. The slow movement, which
acts as an introduction to the finale much like the second movement
of the Fourth Piano Concerto, is played with real feeling. The
finale, though, must be the pièce de résistance,
as it travels from smooth and dreamy to a climax of great power.
The final prestissimo section brings the work to its
rousing conclusion. It makes you want to shout “bravo!”
As an addendum, the Andante favori movement comes across
as a pleasant piece in rondo form with interesting variations,
but is lighter in mood than the short movement that replaced it.
Beethoven knew what he was doing.
Chandos has provided Bavouzet with a clear and bright recording
that does not lack for warmth. The first-class production values
are also what one expects from this label. William Drabkin has
contributed detailed notes on each sonata, and Bavouzet himself
provides a note on the reason he decided to record these sonatas
and on his approach to the works. As a whole, while there are
many recordings of these works from which to choose, Bavouzet’s
belong up there with the best.
Leslie Wright
Masterwork Index: Beethoven
piano sonatas
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