|
Review by Beethovenfan December 19, 2008 (13 of 13 found this review helpful)
|
|
This is my first entry and English is not my native language. I have no musical background, I am just a very humble pianoplayer, my technical knowledge is just enough to explain my family and friends the difference between CD and SACD, but I am a musiclover from the deepest of my heart. I love a recording when I get the feeling that the players transform in the best possible way the message from the composer’s heart to mine so that my emotions are moved, when the sound is realistic, when it makes me happy that this disc exists. So I can list a few hundred LP’s and (SA)CD’s which are irreplaceable to me. And I fell in love with the possibilities that SACD offers, the purity of the sound, the presence of the people and instruments,…
And this SACD is fantastic ! As are the previous 5…I am following Ronald Brautigam’s live recitals in Gent (Belgium) and this is a very unique experience. He moves you in no time to Vienna round 1800 and the listener feels comfortable in the role of an astonished Viennese attendant. Most of this magic is transfered to these SACD’s.
Brautigam finds each time the language to give every sonata its place in history. His phrasing, his accents, his feeling for the sound, his staggering virtuosity, this all serves Beethoven as no one has done before. Even the less known works become masterpieces under his hands.
And when the Appassionata is maybe a less thundering than some of us had expected, I heard the very best version ever on a Viennese instrument. Tan’s playing is great but his Streichercopy sounds dull, Orkis’ two versions are not convincing, Zvi Meniker is just good. Badura-Skoda’s recording on his Broadwood is the other must-have.
And the Waldstein is irresistible, so beautiful…
Brautigam’s instruments are among the best copys I know, much better than the ones used by Bilson and his students, much better than Tan’s and Orkis’instruments, they have a full, warm and yet crystal clear sound, very credible for Beethoven’s period and music.
This SACD honours in the best way all these virtues. Music is not situated in your speakers but you almost have Brautigam live in your livingroom. Close your eyes and Beethoven is in your Viennese room…
|
Was this review helpful to you?
yes |
no
|
|
|
Review by JJ January 24, 2009 (3 of 4 found this review helpful)
|
|
With this sixth volume of the complete recordings of Beethoven’s sonatas for piano solo, Ronald Brautigam takes on opus 53, 54, 57, 78 and 79. Five works that include the well-known “Waldstein” and “Appassionata.” “By the scale of its design,” says pianist Alfred Brendel, “the “Waldstein” Sonata makes us think of other works by Beethoven of the same period, for example the Quartets Op.59, even the “Eroica” Symphony. Still, Beethoven considerably reduced the length of this Sonata, deciding to remove the “Andante Favori” and publish it separately. The brief slow movement that replaced it admirably juxtaposes the luminous universe in C major of the two surrounding movements.” For the Sonata N°23, Op.57 “Appassionata”, the Austrian pianist emphasizes that “by its poetic force, by the multiplicity of its thematic connections, as well as by the impressive simplicity of its structural foundations, this sonata represents an unparalleled exploit, even for Beethoven.” Ronald Brautigam on piano continues his exploration of the Bonn master with tonal consistency, constant involvement, and an intelligence in his musical discourse that places him among the best. As before, this disc is a total joy, both unique and jubilatory. Splendid!
Jean-Jacques Millo
Translation Lawrence Schulman
|
Was this review helpful to you?
yes |
no
|
|
