Ludwig van Beethoven
The Piano Sonatas: Volume IV
András Schiff piano
Recorded April 2005, Zürich Tonhalle
This disc marks the end of Beethoven’s “early” period (though Schiff is quick to point out the arbitariness of such categorical distinctions). Here we see Beethoven the character actor, the pantomime and experimenter, donning a new mask with each successive gesture.
Sonata No. 12 A-flat major op. 26
As with every sonata on this standout disc, Schiff displays the utmost patience with the material. The gentle opening is like an early morning brightening into daylight: brief snatches of dreams flit across the mind, only to be lost again as we try to grasp them long enough to remember. The Allegro bustles with the liveliness of daily chores, while a funeral march adds a new element into the mix.
Sonata No. 13 E-flat major op. 27/1 “Quasi una fantasia”
The second movement pulses with the precise syncopation of Bach’s Well-Tempered Clavier, and is for me a key moment of transcendence in the oeuvre represented here. As affecting as it is brief, it is perfectly balanced in its weight and distribution. This is followed by a plaintive Adagio and the crowning Allegro, between which Schiff exhibits the diversity of his approach as he winds up for a rousing finale.
Sonata No. 14 c-sharp minor op. 27/2 “Moonlight”
Perhaps nowhere is Beethoven’s posthumously acquired pomposity more sensitively challenged than in this, the ubiquitous “Moonlight”-Sonata (the name is not Beethoven’s, given instead by nineteenth-century German poet and music critic Ludwig Rellstab, who likened the piece to an evening view of Lake Lucerne). There are, perhaps, justifiable reasons why its opening movement has been so widely interpreted, excised from its connective tissue and upheld as a prototypical sample of its kind. Yet none of that seems to matter the moment it falls into Schiff’s more than capable hands. The rhythm is pure perfection, never lagging while allowing for every note to speak its piece. Schiff makes a seemingly bold yet ultimately sensible move in following Beethoven’s controversial cue to depress the sustain pedal for the Adagio’s entire duration. This prescription has more often been overridden because of the modern piano’s longer sustain. Schiff’s magically realized solution seems as much a matter of his choice of instrument as of his technique. The central Allegretto is a vital hinge—“a flower between two chasms” in the words of Franz Liszt—to another recognizable burst of melodic intensity in the Presto, in which the sonata form is resurrected with ferocious efficacy.
Sonata No. 15 D major op. 28 “Pastorale”
The “Pastorale”-Sonata, with its instantly recognizable grandeur and intervallic range, proves to be a suitable companion and marks a period in which Beethoven’s deafness was growing markedly worse. The sonata’s subtitle was appended by publisher A. Cranz and should be taken with a grain of salt, lest one miss out on the contrasting dynamics of the two central movements. The Scherzo here is one of Beethoven’s more charming creations and spices the mix like laughter before hurtling into a kinetic gigue and virtuosic finale.