Alfred Brendel (Philips, 1970s)
Im not a big fan of Alfred Brendel. Try as I might and I have tried Ive just not been able to get into too many of his recordings. The last two of his three recordings of Schoenbergs Piano Concerto aside, and perhaps some of his Mozart paired with Mackerras as well, Ive always found at least as much to dislike as like about many of his recordings. When it comes to Beethoven sonatas, Ive found the earlier the better. Up until now, Ive never undertaken a complete Elveebee cycle by the usually grumpy looking Mr Brendel. Ive heard a decent amount of his digital cycle, a bit of his first cycle on Vox, and only a couple things from his middle cycle on Philips, and then only on the radio and quite a while back. My overall impression is that early in his recording career Brendel was more impetuous and fiery if hardly a paragon of heated romanticism. As he has aged, he has seen fit to infuse more and more of his ideas into his playing. That can be great. It can also suck. Even though Mr Brendel hardly ranks among my favorites, I felt I should give him a try in all thirty-two works. Whether or not one likes him, he is a major pianist of the age, and, more to the point, hes a major Beethoven interpreter. Plus, his recent Gramophone interview contained some unflattering remarks about Rachmaninovs music something of a positive to me. So then the question came down to which cycle to try in its entirety. That ended up being easy; curiosity became my arbiter. Since Ive heard so little of his second cycle, that was the one for me. Here goes:
The opening few seconds sound stodgy. Bad news, I thought. A stodgy 2/1 will not do! But only a few seconds later things improve markedly. Brendel does pretty much everything right: the overall tempo is nice, his dynamic transitions are smooth, his rubato non-tic-y. It is all quite serious, though. Thats not say its heavy or anything. The Adagio again has a nice tempo and Brendel plays with an appealing though admittedly not especially broad tonal palette. The on-going seriousness here manifests itself as detached emotion, if you will; theres something there, but Mr Brendel doesnt want to indulge it too much. The Menuetto gets the straight treatment though the part playing is quite distinctive with some rather appealing right hand figures. The concluding Prestissimo sounds a bit thick, but its forward momentum is unstoppable. I guess some phrasing in the middle section is stiffer than ideal, but overall this is better than I was expected.
The same goes for the second sonata. The Allegro vivace opener sounds quite chipper and fun, and perhaps a bit mischievous. (Is it vivacious or mischievous? You be the judge.) Even the more dramatic passages sound puckish. The only quibble I have and its only a quibble is that some of the playing is too hazy, with Brendel using the sustain pedal too much for my liking. (It could be the acoustic / recording, too.) The Largo appassionato ends up sounding more like an energized Adagio, Brendel takes it at such a breezy clip. It never sounds rushed, and Brendel makes the piano sing. (Well, almost.) This isnt something I normally associate with Brendel. I cant really say that the movement sounds passionate, but Im more than happy with what it does sound like. The concluding Scherzo and Rondo, while perhaps not ideally flowing, sounds decidedly quirk-free (or at least quirk-lite) and well paced and is a, well, serious joy.
With the third sonata Brendel makes it three for three. The Allegro con brio opener is as straight forward as that indication requires, and sounds flowing, clear, reasonably attractive, with nothing forced of out of place, and with some superb runs near the end. The Adagio is likewise uncluttered and direct. Its also rather serious one could almost think of it as an aural frieze and possessed of a nice, deep, tight lower register. The Scherzo sounds rather sternly driven, punchy, and remarkably free from interpretive artifice. The concluding Allegro assai is light, crisp, with charming staccato (yes, charming staccato) and rather seriously driven, as seems to be Mr Brendels wont. I guess some (or many) may prefer a lighter, more youthful and even sunnier approach to these works, but I rather enjoy them as is, and I enjoy them for what theyre not excessively quirky, as a number of Brendels later recordings sound. The sets off to a good start.
The Op 7 sonata is mixed. The Allegro molto e con brio opens in a vigorous manner and can best be described as straight and detached with some creative sustains adding individuality. The Largo is slow (and definitely sounds like a Largo), steady, and distant. It can also sound a bit hard at times the repeated three note figures being a good example and some may no doubt want a bit more warmth. The Allegro is suitably lighter, with a nice rolling bass, but also sounds a bit stiff at times. The Rondo more or less continues along similar lines, with some slightly overdone passages that sound too stiff and deliberate. The playing also assumes a gruff mien at times. Overall, the sonata is well played, but it also sounds a bit rough and hard musically, at any rate; Brendel never really produces an ugly sound. Perhaps Brendel tries to make more of the work than is there, and at times some of the ideas dont work as well as others.
The first of the Op 10 is back to good and straight forward. The Allegro molto e con brio open is definitely fast faster than I was expecting but its not especially strong or explosive. I still rather dig it. The subsequent theme is surprisingly rounded and attractive, and sounds that way every time it reappears. The Adagio molto is played with surprising warmth and even delicacy even if it lacks what I would call true emotion. Brendel does introduce some of his quirks, here confined to uniquely executed pauses and sustains, but fortunately they work. The concluding Prestissimo in clean and clear (though not of Barenboim clarity) yet deliberate but deliberate in a good way. Indeed, this work and the preceding works all sound deliberate. They all sound thoroughly thought-through. Brendels Beethoven is in the intellectual, classical style, if you will: Brendel has thoroughly analyzed each score and plays every work with an eye to both textural clarity and architectural integrity. That means that it can sound detached and perhaps even antiseptic at times. It certainly doesnt sound romantic or romanticized. For people who want that style of Beethoven, this set will not do.
It should then come as no surprise that the 10/2 sonata ends up sounding a bit clinical and detached if still rather appealing. The Allegro is quick and driven hard, and lacks charm, but I still rather like it. The Allegretto, while having a bigger sound, sounds austere if not bleak. And the Presto (with repeat!) is energetic yet not buoyant. Hey, what can I say, I like Pollinis take, so I like Brendels too.
The final sonata in the set follows a similar path. The opening Presto is spry, with a nice rounded tone in the quieter passages and not a little zing in the louder passages. Its fun and its serious at the same time. The Largo ends up sounding a bit distant, cold, bleak, and stinging. Its controlled and takes the long, architectural view, and when one combines that with its sting, it seems to foreshadow the Adagio of the 106. Perhaps its too much heft for this early work, but I like it. The Menuetto offers a reprieve from the (good) bleakness: its fun and relaxed. The Rondo ends the work in vigorous fashion, and the coda is downright joyous, or at least joyous for Brendel; its as though hes happy to be done with what he considers an important task. Again, some may be turned off by the somewhat aloof, measured style, but I rather enjoy it. My only complaint is the rather noticeable pre-echo that the Philips engineers allowed to seep in.
I approached the Pathetique prejudiced. Brendels style up to this point doesnt really work well in this piece. And so it proved to be. The opening Grave is slow, with extra-long sustains used to make the music sound more dramatic. The following music is too stiff and overemphatic, as if to underscore every obvious element in the score. When the movement transitions to the Allegro di molto e con brio it assumes a quick and nimble yet somewhat soft, rounded sound, and Brendels quirkiness shows up. The Adagio cantabile is way too hazy, due in large part to the muffled recording, and while superficially decent doesnt really do much. The middle section is quick but curiously soft. Same with the Rondo. The whole work is too small, too insubstantial, and too unpleasantly recorded to be effective.
To the two Op 14 ditties. Here are works that can certainly wilt under intense playing, but they can also suffer if played too analytically. Alas, the first of the two does suffer a bit from Brendels style. The opening Allegro opens in a pleasantly relaxed way, with a floating left hand offering nice support, and some deliciously spiky forte chords thrown in to mix things up. A somewhat formal feeling permeates the playing though, making the music sound almost too serious. The Allegretto tends to lean, occasionally fierce playing, including some rather abrupt notes and foreshortened phrasing near the end. The concluding Rondo fares best, with a light, flowing sound that is broken only by the aggressive playing in the middle section. The recording isnt a bust, but I cant say that it quite matches up to my favorites.
Much better is the second sonata. Im beginning to think that I just prefer the second work more, and it seems that more pianists fare better here than in the first one. Anyway, Brendel again opens with an Allegro that sounds pleasantly relaxed and benefits from a basically perfect overall tempo. Brendels playing also sounds just right for the work: a nice attack is followed by a rounded, appealing decay, and the tone, while not as ingratiating as Lucchesinis or as richly varied as Barenboims, still tickles the ear. The Andante is quite chipper too much so for a movement so indicated? Dunno. and assumes a fun march-like quality while still remaining fluid to the end. The concluding Scherzo is a bit stiff at times, but overall it sounds fun and slightly warm, at least in the context of Brendels playing. So, good, very good, but not a world-beater.
One consequence of listening to so much Beethoven over the last ten or so months has been an increased appreciation of the 11th sonata. Ive always enjoyed the Op 22 sonata, but it always seemed to me to be immediately followed by more interesting works, and so I listened to it less frequently than I should have. Now, though, I look forward to this work to see how a pianist handles late early LvB and to listen for clues to how they might approach subsequent works. Brendel handles it quite well, though I have some minor reservations about it. Well, not so much reservations as observations. The Allegro con brio certainly opens nicely enough. Brendel plays it fast, clear, and open, and it has an irresistible forward drive to it. In some ways it could be considered straight and undistinguished, but the overall energy level and strength of Brendels playing really work. And the pianists vocalizing shows that he really digs the music, so its not surprising that it sounds so good. Perhaps Brendel was having so much fun playing and recording the piece that he forgot to slow down for the Adagio, because it sounds more like an Allegretto or Allegro at times. Of course, Brendels playing is purposive. The movement is uniquely tense and incessantly driven. This will not be to everyones taste, and its certainly not what I generally prefer, but here it works. The Menuetto is likewise tense and unyielding. The opening of the Rondo seems to offer something different as it opens in a more relaxed fashion, but soon Brendel is right back at it, not letting up. In demeanor, it reminds me of some of St Annies playing or even some of Seymour Lipkins playing, and I like it! This is not an easy listening Op 22; this is a hard-driven, thought-provoking version.
Perhaps even harder to pull off to my satisfaction is the Op 26 sonata. There are many valid approaches, though I tend to prefer one centered around a big, solemn, funereal funeral march. Sounds reasonable enough, but not everyone sees it that way. Brendel is one of those people. The Andante theme that opens the work comes across in a most pleasing, lyrical way, and the variations that follow benefit from Brendels occasional quirkiness. The faster variations especially benefit. Heres one time when underscoring a novel phrase or poking the listener in the ear with a uniquely accented chord pays dividends. The slower variations can be a bit too heavy on occasion, but overall the effect is nice. The Scherzo is forceful and biting to the point of being dour, but it works reasonably well. The funeral march so important for me here sounds neither especially funereal nor especially march-like. Yet what Brendel brings to it works well. His playing is small-scaled but quick. The middle section is terse and sharp and unyielding. Its un-nice Beethoven. Its pissed off Beethoven. That works, too. The concluding Allegro sounds stiffer than I prefer, but it also sounds grander than the march. On balance, this is a so-so reading I guess, but its one with some unique insights.
On to the increasingly important 27/1. Each time I relisten to this sonata I like it more, so it has become almost as important as the critical Op 31 sonatas in assessing a pianists achievement. Brendel fares better than I would have originally expected, but as is often the case, his approach doesnt yield world-beating goodness. The Andante opens the work rather briskly, but its also smooth and relaxed and rounded. The tension increases as the Allegro nears, which when it arrives is played in a purposely hazy manner with plenty o sustain and pulled back bass chords. Brendel never thumps away. The return of the lovely Andante is a bit straight and almost stern. Its a sort of by-the-book Fantasy, if you will. The Allegro molto e vivace displays more purposely hazy playing, more restrained bass, yet maintains a nice rhythmic pulse. No, he cant match Gulda here, but thats quite all right. The Adagio sounds like a darkened, altered return of the opening material and has some upper register zing. The Allegro vivace opens in a prancing yet slightly restrained manner and offers a nice contrast to the dreamier (if thats the right word in the context of this recording) music before a nice recapitulation and a zippy conclusion. All told, this is quite good, if not a top contender.
The Mondschein, not too surprisingly, sounds similar in that it presents in somewhat stern view of a somewhat fantastic work. The opening movement is very direct, with clean staccato playing married to a depressed sustain pedal. The overall effect is a bit cold, but thats okay. The Allegretto is strong and striking, with some near-brittle (in the best possible way) sounding playing, and the concluding Presto is quick and straight. I cant say that this rates among my favorites of this work, but it is good and much less fussy than I thought it would be.
Time for another biggie. How I admire the Pastorale. Its among the most immediately appealing of all the 32 and in a good recording never fails to improve my mood. Once again I approached the work at hand with some reservations. Right out of the gate Brendel assuaged my reservations. His playing flows and sounds nicely lyrical with only a few instances of stiff left hand playing, but hardly enough to detract from enjoying the music. The runs are fast and nearly shimmering, and in the middle section Brendel plays with a nicely urgent sound. Not all is uninterrupted sunniness. Brendel plays the Andante comparatively swiftly with superb part playing one can hear and savor the bass and the melodies in equal measure and again adds some significant bite to the faster middle section. He also manages to infuse the playing in the fast section with subversive wit. The Scherzo finds Brendel playing in a calculated yet successful manner. He alternates quick figures and slight but noticeable pauses to good effect. The brief pauses almost make it sound as if the pianist is joking around. Go figure. Throw in a pointed and decidedly fun middle section, and, well, one has a fine movement. The Rondo ends the piece similarly to the opening movement, and here he uses the halting pauses again, though the effect isnt as successful. It just sounds a bit mannered. Indeed, throughout the movement (and the sonata, for that matter), one can detect Brendels quirkiness, but its not so pronounced as to detract from the music. So, a qualified success.
And so it is time for that critical trio, that batch that if poorly done precludes a cycle from scaling the heights. Brendel opens the first sonata well enough, playing with speed and, appropriately enough, some vivacity, and even an approximation of fun, though only of the unsmiling variety. He also throws in some notable power on occasion and does a good job right through. The Adagio grazioso, though, isnt as satisfying. It opens with a stiff left hand underlying flat, antiseptic trills. Brendel also plays in a quirky manner. Some love it, some hate it, some are more indifferent, but its there. His rubato, his playing style, his little tics, all come to the fore, for instance when he uses quick, clear staccato to play the runs in a manner that interrupts the musical flow. The middle section suffers from more stiffness, yet theres a solidity to the repeated left hand chords that sounds almost like proto-rock music. Some reasonably beefy but unclear bass trills aside, the end is lighter in tone. The Rondo again sounds stiff in places, with some choppy playing appearing here and there, yet nothing sounds forced or unpleasant. Indeed, thats the overriding impression of the whole work. Brendel has thought it out thoroughly and plays with a dearth of spontaneity and genuine fun, if you will, but it still sounds decent. But thats more or less it.
The Tempest comes across in a similar way, with a relative lack of quirkiness the primary (and beneficial) difference. Brendel opens with a suitably slow Largo, though it sounds a bit flat, and then moves onto an Allegro that is suitably quicker though not especially fast, and he never really builds up any strength, either. As a result, the contrasts inherent in the music are largely absent. It sounds straight, mostly emotionless, and decidedly calculated. The almost clinical result is still interesting, but hardly enriching. The Adagio is pretty much the same, only slower. The concluding Allegretto, while not really offering much in the way of emotional playing or garish virtuosic display, benefits from inexorable forward momentum and decent lower register heft while suffering a bit from some stiff phrasing. Again, its decent, but hardly top-flight.
Fortunately things pick up with the last of the trio. While played straight, the opening Allegro finds Brendels tone assuming that nicely rounded sound so prevalent early on, and Brendel sounds more at home with the upbeat, witty tenor of the piece. He never lets loose, but nor does he indulge himself too much. The Scherzo opens with Brendel scampering along in proper fashion, in a musically deadpan manner, which makes the passages where he slows down in a most serious fashion just to pound the keyboard and the play in a rushed manner all the more enjoyable. The Menuetto is well paced, comparatively lyrical, yet also a bit dark. Brendel ends the work with a Presto con fuoco played in a reasonably quick, decidedly pointed, rhythmically satisfying, yet sometimes flat manner. Given the relative successes he conjured up before, I had hoped for more in these works. Brendel does okay, I suppose, but I also find that his quirkiness and coolness dont help out. Ive heard worse in all of the sonatas, including most recently Cianis disappointing takes (especially the awful 31/3), so I guess I can say both better and worse are out there.
Moving on the delightful little Op 49 trifles finds Brendel more or less carrying on as before, at least initially. The first of the two is direct and while warmish in color, its cool in delivery. Theres nice energy, but little fun. The second is more successful, and Brendel vocalizing seems to indicate that he likes it quite a bit more, too. It opens much like the first sonata except that its more lyrical. The second movement actually includes a bit of charm, too. So, a nice interlude, if you will.
Given Brendels overall style, I didnt come to the Waldstein with the highest expectations. This piece definitely benefits from a looser, more emotive style, though alternative takes can succeed fabulously. Alas, Brendels approach does not succeed fabulously. He opens with a quick and surprisingly light Allegro con brio. I expected more bite or oomph or muscle, thats for sure. Brendel also plays within a narrow dynamic range, never veering much from the basic levels set early on. At least the part playing is interesting, with a clear right hand supported by a smoother legato from the left. The Introduzione, while being played within similarly narrow bounds as the opener, is more successful. Brendels coolness and sparing use of various interpretive devices yields a somewhat flat yet strangely appealing uninterpreted interpretation. The concluding Rondo opens with an attractive right hand melody superimposed over a subdued left hand, but as things heat up, Brendel stays too cool and some of his phrasing becomes a bit stiff. So this ends up being another okay recording but nothing special.
The Op 54 is more successful. The opening movement starts off somewhat softly and sounds reasonably lyrical. So far, so good. But then Brendel transitions to playing in a punchy, angular manner while not adding much sting or bite. It sounds pretty good. Its pretty straight forward, unflashy, and unweird. The second movement is suitably slower and is characterized by a flowing right hand playing over a somewhat stiff left hand accompaniment. While that shouldnt work, it sort of does here. The overall conception ends up sounding big, and when Brendel does loosen up to play the ending in quick, vibrant fashion, it is most welcome and caps off a good recording.
Unfortunately, I can find little positive to write about the Appassionata. Its not that Brendel botches it technically; rather, his playing just doesnt seem right, and it certainly does not sound in any way passionate. The Allegro assai opens in a too subdued fashion, and even the terse staccato playing just sounds bland. Even though the piano is very closely miked, the sound lacks bite and intensity, even in the faster portions. The whole thing sounds bizarrely limp. The Andante suffers the same fate. The few positive things I can write apply to the closing movement. Indeed, it has many ingredients that if properly blended with other elements can result in a satisfying musical experience, specifically well-judged overall tempo and clear or clear-ish articulation. Those other necessary elements are not there. The playing lacks passion and intensity. This is definitely a weak spot in the cycle.
After a disappointing Op 57, the subsequent works were bound to sound better, and they do. The Op 78 Adagio cantabile opens with a well-judged tempo and a round, soft tone. The second movement sounds appropriately chipper and nicely smooth. The Op 79 Presto alla tedesca is bright, forward moving, sunny and downright fun. I suppose the second movement may be a bit too cool, but its still decent, and the final movement is direct and lyrical with just a smidgeon of tension and bite thrown in. Neither recording is a worldbeater, but both make for a good listen.
The Les Adieux makes for more than that. As with Op 53 and Op 57, I approached this sonata with reservations, but here Brendel succeeds. The opening movement opens in a poised and lyrical yet morose fashion, and as the music swells, Brendel keeps it all under control. While it sounds big, it doesnt assume the quasi-orchestral dimension that many bring to it. Rather, its played on a more personal level, more akin to how Paul Badura-Skoda plays it. But its also constrained; Brendel never lets loose. It doesnt seem to matter, though. The middle movement ends up a lonely, personal lament, with nothing metaphysical attached to it. The final movement opens with in happy if not ebullient fashion and stays somewhat small. Again, its a personal conception, not a grand one. To tickle ones ears, Mr Brendel offers some hypnotically steady left hand playing and keeps the whole thing moving along with nice rhythmic snap. Heres a recording that works better than I anticipated and actually compares favorably to other versions.
Now, the Op 90 is something else entirely. Ive long admired Brendels Vox recording of this piece, but I think this one may be even better. Everything about it not only works but works incredibly well. Brendel opens the piece in a rich, grand manner, yet he also infuses the playing with an almost mysterious sound how and why, I dont know, I just know I like it. It also sounds simultaneously urgent, lyrical, bitter, and unsettling; it manages to sound both comfortable and uneasy at the same time. The listener is in experienced hands, thats for sure. Anyway, the middle section is fast and stinging, and the way Brendel draws out the ending is unique and captivating. The second movement, in marked contrast to the first, is a non-stop stream of beautiful music. A bit of more intense playing in the middle section notwithstanding, Brendel sounds his most beautiful and compelling here. A superb reading.
One experiences a diminution in quality with Op 101. But not too much. The opening Allegretto ma non troppo sounds lovely, thoughtful, and, somehow, both grounded and dreamy. It never sounds otherworldly or anything like that, yet it still sounds good. The march opens with curiously clouded chords, which reappear later, but overall sounds nicely march-like and is strong where it should be. The Adagio sounds serene and contemplative and personal in nature, and ends with a crisply played trill that segues to an incisive, lucid final movement. Some of the playing sounds slightly stiff and staggered, but the pointed playing is the point. The movement is sharp and clear, and Brendel unleashes some significant power for once. At times the playing sounds a tad brittle, but overall everything works relatively well.
Yet another decrease in quality can be heard with the Hammerklavier. The first thing I noticed is how small scaled the playing seems. Most pianists do their best to make the opening movement sound quasi-orchestral. Brendel does not. Dont get me wrong, Brendel does some things right he plays with a nice overall tempo and creates musical momentum and a small approach can work, as, again, Paul Badura-Skoda demonstrates, but Brendel just never creates an especially compelling sound in the two opening movements. The great Adagio fares better. Brendels playing is flat that is, he introduces little in the way of overt interpretation and he creates a suitably desolate sound world. But it doesnt really capture ones fancy. The final movement starts with a cool, distant Largo and then transitions to a measured yet somewhat quick, reasonably clear fugue. Some beefy bass adds sonic allure to the mix, but the whole thing sounds uninspired and uninspiring.
The same cannot be written about the Op 109. Indeed, this is the pinnacle of the cycle. The Vivace ma non troppo is fast, clear, bright and wholly unfettered by unnecessary gestures. It sounds a bit lean, perhaps, but that only adds to the allure. The Adagio section is much calmer and more contemplative and possessed of all that late LvB goodness. Brendel plays the Prestissimo in electric fashion, angrily hammering out the music in a most satisfying way. And the center of the work, the glorious Andante and variations, works, too. The Andante theme itself is meticulously delivered and has that transportive quality common in the best versions of the work. Then the variations come, and success follows success. The slow variations are quintessentially late LvB in every way. The quicker ones are deliberate and quirky, but here Brendels quirkiness actually works. Most important and impressive of all is how the whole thing jells. Brendel takes the long view of the piece and his delivery makes it difficult to really dissect it in great detail; after all, one wants to greedily hear all that music. A remarkable recording.
After such an extraordinary recording it came as no surprise that the following recordings are not quite as good. The 110 opens with a Moderato cantabile molto espressivo that is generally well done, benefiting from forward momentum, moderately clear playing (some amorphous lower register playing in a few passages notwithstanding), and an attractive tone. Brendels playing never sings, though. The Allegro molto is really good, with Brendels playing taking on a hard-hitting, vigorous and unsmiling mien. But as with the preceding work, its the last movement that matters most. The Adagio ma non troppo opens with a bleak, ascetic sound. The sense of gloom permeates the entire opening portion of the movement and really works well. The initial fugue starts gently, builds up in tension and volume rapidly, and unfolds with admirable directness and decent clarity. The second stab at the opening material sounds much the same as before, which is fine, but the ending chords are surprisingly feeble. The inverted fugue, not surprisingly, sounds much like the original fugue overall. Brendel chooses to end the piece in bold, strong fashion, though others end the piece more titanically. Overall, the 110 is a success, and complaints are minor.
Ditto the 111. Again, Brendel plays the whole thing in a refreshingly direct, largely quirk-free way. The darker music of the latter half of the opening movement sounds more mischievous than malicious or ominous, but the unyielding forward drive and striking way Brendel plays the quasi-contrapuntal music is really invigorating. And Brendel once again demonstrates an ability to surprise by playing the Arietta in sublime fashion. Subdued and beautiful and static, he really nails it. The subsequent variations sound very good for the most part, and the long trill is steady and clear and offers a fine musical baseline. But. But Brendel never really achieves the same transcendental qualities that the best do. Overall, though, this is a fine recording and better than I expected. Id say its a toss-up between this and the Vox recording. Thats good news to me.
Time to sum up. Somewhat contrary to my expectations, I rather enjoyed this cycle. Brendel is certainly uneven, but at his best Op 22, 90, 109 he is extraordinary. At his worst, hes far more tolerable than I thought he would be. He doesnt sound as quirky and mannered as he does in his more recent Beethoven recordings. On the downside, he doesnt sound as impetuous and invigorating as in his Vox recordings, or at least the ones I am familiar with. One thing I noted as I listened to the cycle was how comfortable it sounded. By that I mean that Brendels take is a serious, intellectual take on the works, and he doesnt try to dazzle with unnecessary pianistic pyrotechnics, and he respects and even loves the music and is thus focused on presenting his ideas on the music rather than something less important, so I could just sit and listen and enjoy. In some ways the cycle reminds me of Claude Franks, though its not as accomplished technically or musically. Theres no doubt that many people do or would like this cycle more than I do, and its equally certain many do not or would not. Brendels take is classical in overall approach, and is definitely shorn of pretty much any hints of romanticism. At times his playing borders on the coldly analytical, and many simply cant stand that. Even when I dont especially care for Brendels playing, I must admit that he always has original ideas about the music, so if you want a stimulating cycle, this one could definitely fit the bill. I certainly cannot rate this cycle among my favorites, but it easily trumps a number of lesser sets. It has also made me want to buy the remaining volumes of his Vox cycle to hear how he fares. I may even give his digital cycle a try at some point. Miracle of miracles, I can sit through a big batch of Brendel and enjoy myself and least some of the time. Whoda thunk it?
To sound: Tis variable, but on the good side. Some of the recordings, particularly from 1975, have more hiss and a less attractive sound that some of the other recordings. The 1977 recordings all sound superb.
