Beethoven, L. van: Piano Works (Complete), Vol. 6 (Brautigam) - Sonatas Nos. 21-25 [Hybrid SACD]

Volume 6 of a projected 16 discs of the complete works for solo piano, this is where I chose to start listening a couple of months ago. I was impressed - and have since bought the previous five issues (it is disturbing to note that Volume 1 (2004) is already getting harder to find). So this review will just provide some facts and first impressions of this ambitious project by Ronald Brautigam, as it exists to date. It appears that the series will commence with a complete Piano Sonata cycle. The key distinction of the project is that it is played on various reproduction fortepianos of the era.

Unsurprisingly, there are many works in these first 6 discs that I've not heard before.

Volume 1: Sonatas Nos 8-11 (1797-1800)
Volume 2: Sonatas Nos 1-3,19-20 (1793-1797)
Volume 3: Sonatas Nos 4-7 (1795-1798)
Volume 4: Sonatas Nos 12-15 (1800-1801)
Volume 5: Sonatas Nos 16-18 (1802)
Volume 6: Sonatas Nos 21-25 (1803-1809)

For the first five Volumes, Brautigam plays a fortepiano based on a Walter & Sohn instrument c.1802, which has a bright but sweet tone. We are told that Mozart bought an Anton Walter fortepiano in 1778, and that Beethoven was also an admirer, who 'nearly succeeded' in buying a Walter & Sohn in 1802. Tantalizingly, the notes do not say why the deal fell through. For Volume 6, the fortepiano used is based on a darker-hued Graf instrument c.1819.

Volume 2 is the weakest of the set so far, simply because the works are very early and/or somewhat inconsequential. This won't worry completists though (we know who we are)!

Volume 6 is dominated by the two masterpieces written between 1803 and 1805, the 'Waldstein' (No.21) and the 'Appassionata' (No.23), from the beginning of that amazing six or seven year period which brought to life Symphonies Numbers 3 through 6 and countless other crucial works. I found the performances exhilarating, with fast but just tempi, expressive sonorities and extraordinarily clear and clean passagework.

I am commenting on this set at the release of Volume 6 because these works might be considered a turning point, where Beethoven significantly ups the ante for interpreters. That Brautigam rises to the occasion bodes well for the future of the cycle.

It is difficult to particularly categorize Brautigam's style, except to say that to me the music seems to speak through him in an absolutely natural way. Brautigam recorded the complete Mozart and Haydn solo piano works before embarking on this Beethoven cycle. From the earliest music, where one hears the composer wriggling within established forms, through to later works as Beethoven progressively asserts his own evolving conceptions of form, expression and structure; all can be clearly heard in these performances.

The recordings have been made in the Österåka Church, Sweden, and this gives a very resonant acoustic. Too much so, to my mind. The thinking behind this decision would be interesting to have had spelt out; I'm not aware that Beethoven performed sonatas in churches. Fortunately, the fundamental sound of the fortepianos is not compromised, showing exemplary clarity and the changing timbres of each register.

The discs are well presented, with useful notes on each sonata and its historical, personal and musical context. Overall, highly recommended. This is perhaps one of the most exciting and important long-term recording projects currently in progress.

DISCLAIMER: This is a Hybrid SACD. Unless otherwise indicated, any comments relating to sound are based on the SACD surround track as heard on a 4.0 speaker system. All speakers are full range. The CD stereo layer can be played on any CD, DVD or Blu-ray player.

Ronald Brautigam is just so sensitive to the wonderful music of Beethoven. He plays the forte piano, which has a slightly more native sound to the modern piano. I loved this CD from beginning to end. The moonlight sonata was sheer bliss to listen to. I like all music but surely modern youth must be mistaken if they think that the only good music to listen to is the latest stuff. We have half a millennium of music to choose from by some of the greatest musical minds that ever existed. It is a pity that classical music is not more appreciated. If you have a young music lover who only plays contemporary music this CD would be an excellent introduction to the wider world of music. If you ever get a chance to hear Ronald live do not pass it by; there is nothing like hearing it live and he has a wonderful sense of humour. Sadly he does not visit England all that often.