Beethoven: Complete Works for Solo Piano Vol 1 - Sonatas Op 13 Pathétique, Op 14 Nos 1 & 2, Op 22 /Brautigam [Hybrid SACD, SACD]

I debated for a long time before buying this SACD - simply because while I had appreciated other fortepiano recordings I owned, they never replaced recordings on a modern grand piano. Also, of course, I had other versions of these works, particularly the Pathetique.

Still within a few bars of this excellent recording, my fears were banished. The fortepiano Brautigam used (a copy of an original) is one hell of an instrument: no tinkly passagework or lack of sustaining power here. In fact the crushing chord which opens the Pathetique (and reappears later) has more impact in this reading than in virtually any other I've heard.

To be honest I'm amazed this thin-legged instrument featured in the booklet can produce such powerful sounds - or survive such playing! The bass response is remarkable, which coupled with Brautigam's phenomenal articulation (particularly of ornaments which emerge with great clarity) and his urgent tempi makes this a really dramatic performance which I would put near, if not at, the top of my favourite Beethoven sonata recordings. Wisely Brautigam adots a fairly flowing tempo for the Adagio Cantabile as this is one area of keyboard playing where the modern piano has the edge.

A word about the sound quality - it's superb in multichannel. Incredibly vivid sound, with the fortepiano placed securely on a perfectly realistic soundstage. Rear channel use is ideal, securing the aural image. As I've mentioned, the bass is perfectly focused, adding real weight to the interpretations. The detail in the mid- and high-registers is also wonderful.

The two op.14 sonatas on the disc are slighter works but given excellent performances - I don't know them as well as the final work, the Sonata No.11 op.22. This is one of my favourites, especially for its amusing theme and variations finale, which here is played rather more dramatically than usual. Richard Goode's performance on Nonesuch has been my benchmark for a few years, but Brautigam is nearly as good (if you'll excuse the pun) - occasionally his non-legato phrasing compromises the droll elegance, though the dramatic interludes in this finale come across more vividly to even things out.

I'd give this a very strong recommendation, and I'll certainly be buying subsequent volumes (the second one is released in August).

If you have worries about the sound of the fortepiano, my advice is don't be concerned, this instrument sounds full and impressive. With Brautigam's virtuosic and thoroughly Beethovenian performances one really hears what early audiences must have experienced with the composer at the keyboard.

It is no exaggeration to call this cd extraordinary or even historical. This is a unique and fascinating recording of some of the Beethoven sonatas. Fortunately, BIS will release all the solo piano music by Beethoven. The playing is brilliant, vital and passionate. Technically impeccable and musically very touching and rewarding.
The most striking aspect of this cd is the instrument used: a fortepiano from the beginning of the 19th century. The  sound is very different from the modern pianos that we are used to hearing. The sound is more brilliant in the upper part of the keyboard and lighter in the bass parts. The sonatas really appear differently. You need to hear it on your own! When hearing this, I realize the tragedy of the modern attitude towards these instruments. All the "maestros" shaking their heads at the sound of the fortepiano. But aren?'t they shaking their head to Beethoven himself? The sound of this piano shows us a glimpse of the GENUINE soundworld of the early romantic period. A period in which string musicians basically refused to use vibrato and where that effect (regarded as an ornament) was not mentioned AT ALL in the most detailed violin schools for example that of Baillot (1840). Who are we to ignore these facts that only shows that our interpretation of this music is way out of line with basically anything that historical facts can show us from the time?? This recording shows that the modern steinway is a grotesque soundmachine in comparison with the subtle and brilliant fortepiano. Yes, Beethoven might have played loud and violently but that is no proof that he would have enjoyed an instrument like the modern Steinway. The fortepiano has different colours of sound depending on where you play on the keyboard. The modern piano has exactly the same even (sterile?) sound all over the keyboard. The bass of a modern piano is so heavy and often so loud that it makes playing the chamber music of for example Beethoven into a forceful and hysteric experience where violinists and cellist play as strong as they can. No, forget about the musical "authorities" that think they know some total truth. Believe me they don?'t... This recording is an example of the vital and beautiful soundworld of the early 19th century. Something that we won?'t be able to ignore forever just like we couldn?'t stop the period baroque movement that has totally taken over and made music more musical. Want to know more? Check out the brilliant book by Clive Brown "Classical and Romantic performing practice 1750-1900 "or the extraordinary recordings with ensemble L'Archibudelli, the Eroica Quartet or the Orchestre Revolutionnaire et Romantique.
There you will find more arguments that turns the musical world as we know it upside down and uncovers the myth of our "romantic tradition" that has been shaped by the russian school as well as ignorant musicians denying the true charm and power of the 19th century music life. Buy this fantastic cd with brilliant playing by Ronald Brautigam and you won't regret it. The character of each movement is convincing and the dynamics are subtle. His technique is flawless and the overall music-making just stunning. Too bad about the cover though which is plain silly. Well, it's worth the cash, I GUARANTEE YOU!!

It is no exaggeration to call this cd extraordinary or even historical. This is a unique and fascinating recording of some of the Beethoven sonatas. Fortunately, BIS will release all the solo piano music by Beethoven. The most striking aspect of this cd is the instrument used: a fortepiano from the beginning of the 19th century. The sound is very different from the modern pianos that we are used to hearing. The sound is more brilliant in the upper part of the keyboard and lighter in the bass parts. The sonatas really appear differently. You need to hear it on your own! When hearing this, I realize the tragedy of the modern attitude towards these instruments. All the "maestros" shaking their heads at the sound of the fortepiano. But aren't they shaking their head to Beethoven himself? The sound of this piano shows us a glimpse of the GENUINE soundworld of the early romantic period. A period in which string musicians basically refused to use vibrato and where that effect (regarded as an ornament) was not mentioned AT ALL in the most detailed violin schools for example that of Baillot (1840). Who are we to ignore these facts that only shows that our interpretation of this music is way out of line with basically anything that historical facts can show us from the time?? This recording shows that the modern steinway is a grotesque soundmachine in comparison with the subtle and brilliant fortepiano. Yes, Beethoven might have played loud and violently but that is no proof that he would have enjoyed an instrument like the modern Steinway. The fortepiano has different colours of sound depending on where you play on the keyboard. The modern piano has exactly the same even (sterile?) sound all over the keyboard. The bass of a modern piano is so heavy and often so loud that it makes playing the chamber music of for example Beethoven into a forceful and hysteric experience where violinists and cellist play as strong as they can. No, forget about the musical "authorities" that think they know some total truth. Believe me they don't... This recording is an example of the vital and beautiful soundworld of the early 19th century. Something that we won't be able to ignore forever just like we couldn't stop the period baroque movement that has totally taken over and made music more musical. Want to know more? Check out the brilliant book by Clive Brown: Classical and Romantic performing practice 1750-1900 isbn: 0198161654
There you will find more arguments that turns the musical world as we know it upside down and uncovers the myth of our "romantic tradition" that has been shaped by the aggressive russian shcool as well as ignorant musicians denying the true charm and power of the 19th century music life. Buy this fantastic cd with brilliant playing by Ronald Brautigam and you won't regret it. The character of each movement is convincing and the dynamics are subtle. His technique is flawless and the overall music-making just stunning. Too bad about the cover though which is plain silly. Well, it's worth the cash, I GUARANTEE YOU!!