Beethoven: The Piano Sonatas Vol. VII – Schiff (ECM New Series 1948)


Ludwig van Beethoven
The Piano Sonatas: Volume VII

András Schiff piano
Recorded May 2006, Zürich Tonhalle

Continuing with its strict chronological adherence, Schiff’s seventh installment of the Beethoven cycle brings us squarely into the composer’s “Late Period.” The Sonatas opp. 90, 101, and 106 represent a turning point in Beethoven’s piano literature, blossoming with a more radical unfolding of internal conflict.

Sonata No. 27 e minor op. 90 (1814)
Characterized by Beethoven as “a contest between the head and the heart,” the op. 90 is a solitary endeavor into the hinterlands of introspection. Moments of pastoral perfection bleed into fleeting lapses of determination that quickly devolve into old habits.

Sonata No. 28 A major op. 101 (1815-17)
Where op. 90 is brooding, op. 101 is nostalgic. This sonata is one of the more romantic in the Beethoven catalog, and opens with assurance in spite of his by now near-total deafness (descriptive cues, such as “Somewhat lively, and with innermost sensitivity” for the selfsame movement, supersede the standard markings in order to better convey to performers how he imagined the music in his head). The sonata continues with its elegiac exploration of the past and its bearing on the present, eventually culminating in an agitated finale.

Sonata No. 29 B-flat major op. 106 (1817-18) “Hammerklavier”
Considered by many to be the most daunting work of all piano literature, the nearly 45-minute “Hammerklavier” Sonata heaves like a gentle beast. Yet the seemingly insurmountable sonata is pulled off here with fantastic panache. The first movement delights with its palpability and energetic drive. The brusque Scherzo feels all the more so in the company of such towering neighbors. Even so, it manages to hold its own beautifully and injects a much-needed whimsy to an otherwise overwhelming landscape. Next is the monumental Adagio, in which Schiff gives us all the breathing room we need in order to devour the final movement, building from a tentative Largo to an astounding fugue and coda in which each and every note gallops with equine agility.

3 thoughts on “Beethoven: The Piano Sonatas Vol. VII – Schiff (ECM New Series 1948)

  1. The sound/recording engineer Stephan Schellmann deserves much credit for the success of this remarkable series of recordings. Apart from the masterful playing of Andras Schiff, it is a great pleasure and to me, a source of rare satisfaction to hear a piano so well recorded. Congratulations and a big Thank You!

    1. I couldn’t agree more, Vincent. Just yesterday, I watched the documentary Pianomania, and so the art of tuning and recording this most formidable of classical instruments is fresh on my mind. Mr. Schellmann of course deserves high praise for his many great feats of engineering for ECM, but for the Beethoven cycle he outdid even himself. Despite the occasional noise from the audience, I often forget these are live recordings, so intimate is the sound and the playing. Thanks for listening, and for reading.

      1. Tyran, I have again listened to Andras Schiff playing the Schubert Sonata in F sharp minor D571 (fragment) on a BBC music CD celebrating the Centenary of the Wigmore Hall. This is the CD that came with the BBC music Magazine. Schiff is astonishingly good, his playing is mesmerising. It would be a good idea if he would record this again with Mr. Schellmann for ECM.

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