Todd
New member
Yet another on-going cycle it seems. Or at least I hope. (Or do I?) PentaTone, led by erstwhile Philips execs, has released three hybrid SACDs of Mari Kodama playing some of LvBs sonatas. That sure seems like a cycle in the making, though it may not be. Anyway, in order to get my feet wet, as it were, I decided to sample the most recent disc of the vital Op 31 sonatas released last year but recorded in 2004. Ive only seen the pianists name a few times, including in an unflattering overall review on ClassicsToday of one of the other LvB discs, and otherwise knew nothing about the artist. Theres not a ton of personal information out there about Mrs Kent Nagano that I could find (but I didnt look too hard), though shes obviously got to have a decent background in her field.
To the sonatas: the disc opens with the first of the bunch naturally enough, and some things are apparent from the start. Among them, this lady can play. She handles all of the writing in all of the sonatas with ease. Her tonal range is not the broadest Ive heard, but the range she deploys is meticulously played. Her dynamic range is immense, her shadings subtle, her articulation superb. Shes equipped for the job. Indeed, Id like to hear her in some denser, modern music. (Maybe some concerto recordings with her husband?) Anway, another immediately apparent thing is that she isnt the most romantically inclined pianist out there. The first sonata opens with an Allegro vivace that is clean, clear, and quite proper every musical i has its dot, every t its cross. Accompanying this somewhat foursquare impression is a brisk-ish overall tempo, meticulous runs, great dynamic control, fine rhythmic drive, and a gently rounded off tone. No sharp, ugly sounds here. But the slight lack of biting attack makes some of the music lose its impact. Even so, she delivers weighty lower register playing to fill ones listening room. The Adagio grazioso benefits more from Kodamas rounded tone, and her trills sound nice. Her accelerations, too. Unfortunately the music surrounding these nice bits sounds a bit stodgy. No, make that plain stodgy. The middle section sounds jaunty but forced. At least theres good clarity between left and right hands, with the slight emphasis going to the goings-on of the right. Thats quite alright. And man, the big bass trill near the end is industrial strength, even if the notes sound a bit muddied. Despite criticisms, Kodama keeps the 1148 interesting. The concluding Rondo is just a bit too deliberate and obviously underscored for my taste. I prefer more groove and insouciance, thank you. That beefy bass is welcome, though. As I noted before, Kodamas rounded tone softens her attack, which at times is distracting. Perhaps some Debussy and Szymanowski are in her future. Anyway, this is a well played version, if a bit lacking in inspiration.
Ditto the Tempest, only its less inspired. Yes, the Largo starts off with a nicely drawn out arpeggio that returns when appropriate, and yes, Kodamas playing has more bite in the more intense music of the Allegro, but the drama all sounds predetermined and predictable. And the slow passages drag. Thats bad. I cant report much about the Adagio other than it is rich and dark-hued and cool and boring. I found it difficult to really focus on the music or the playing. Thats also bad. Kodama picks things up a bit in the Allegretto, with nice energy, drive, and bite. Indeed, its almost like the movement is transplanted from an alternative recording session (as in different sessions performed years apart). Where was all this energy and intensity before? But one movement does not the 31/2 make. This is a let-down.
Ms Kodama most definitely saved her best for last. Finally she lets loose. Finally theres a whole lot of positives and almost no negatives. The Allegro is crisp, has plenty of energy and an all around upbeat mien. This heres chipper middle period LvB. Adding to the allure: superb articulation married to fluid delivery and grooviness, albeit a sort of prep school grooviness. Gulda Kodama is not. The Scherzo, well its fine. Its just scampish enough, though Kodama is ultimately a well-mannered rogue wit. As befits the piece, she just cruises along happily enough, tossing in useful little insights, then Blam! a sharp, loud chord rudely interrupts the proceedings, before everything gets back on course. Here Ms Kodamas impressive dynamic range comes in handy! Things change pace dramatically with the Menuetto. Soothing, slow, saccharine, and ruminative in about equal measure, it seems somewhat out of tune with what came before. (Only somewhat because Ms Kodama is not really free-wheeling.) The middle section is a bit stiff and obviously underscored again. Enough of the negatives, back to the positives: the concluding Presto con fuoco recaptures the energy and drive of the earlier movements, though it takes a few bars to get there. Kodama throws in a most enjoyable touch when the playing after 210 briefly sounds like nothing less than a mirthfully sinister laugh, the hefty bass creating a whiff of unease. She then proceeds to the end in a most inviting way.
All told, this is not a great disc. Kodama can really play, theres no doubt of that, but she doesnt offer great insight or much interesting originality in the first two sonatas. The second of the bunch is a definite disappointment. But she redeems herself in the final sonata. Had only the entire recital been of that quality. Anyway, I dont know if Ill sample more of her Beethoven (Ha!), but I definitely wouldnt mind hearing her in something more modern. Shes got the chops to play whatever she wants, or so it seems. Maybe Boulez? Who knows, but Im sure Ill hear her playing something else.
SOTA sound, at least for the CD layer. I didnt bother with the SACD layer.
To the sonatas: the disc opens with the first of the bunch naturally enough, and some things are apparent from the start. Among them, this lady can play. She handles all of the writing in all of the sonatas with ease. Her tonal range is not the broadest Ive heard, but the range she deploys is meticulously played. Her dynamic range is immense, her shadings subtle, her articulation superb. Shes equipped for the job. Indeed, Id like to hear her in some denser, modern music. (Maybe some concerto recordings with her husband?) Anway, another immediately apparent thing is that she isnt the most romantically inclined pianist out there. The first sonata opens with an Allegro vivace that is clean, clear, and quite proper every musical i has its dot, every t its cross. Accompanying this somewhat foursquare impression is a brisk-ish overall tempo, meticulous runs, great dynamic control, fine rhythmic drive, and a gently rounded off tone. No sharp, ugly sounds here. But the slight lack of biting attack makes some of the music lose its impact. Even so, she delivers weighty lower register playing to fill ones listening room. The Adagio grazioso benefits more from Kodamas rounded tone, and her trills sound nice. Her accelerations, too. Unfortunately the music surrounding these nice bits sounds a bit stodgy. No, make that plain stodgy. The middle section sounds jaunty but forced. At least theres good clarity between left and right hands, with the slight emphasis going to the goings-on of the right. Thats quite alright. And man, the big bass trill near the end is industrial strength, even if the notes sound a bit muddied. Despite criticisms, Kodama keeps the 1148 interesting. The concluding Rondo is just a bit too deliberate and obviously underscored for my taste. I prefer more groove and insouciance, thank you. That beefy bass is welcome, though. As I noted before, Kodamas rounded tone softens her attack, which at times is distracting. Perhaps some Debussy and Szymanowski are in her future. Anyway, this is a well played version, if a bit lacking in inspiration.
Ditto the Tempest, only its less inspired. Yes, the Largo starts off with a nicely drawn out arpeggio that returns when appropriate, and yes, Kodamas playing has more bite in the more intense music of the Allegro, but the drama all sounds predetermined and predictable. And the slow passages drag. Thats bad. I cant report much about the Adagio other than it is rich and dark-hued and cool and boring. I found it difficult to really focus on the music or the playing. Thats also bad. Kodama picks things up a bit in the Allegretto, with nice energy, drive, and bite. Indeed, its almost like the movement is transplanted from an alternative recording session (as in different sessions performed years apart). Where was all this energy and intensity before? But one movement does not the 31/2 make. This is a let-down.
Ms Kodama most definitely saved her best for last. Finally she lets loose. Finally theres a whole lot of positives and almost no negatives. The Allegro is crisp, has plenty of energy and an all around upbeat mien. This heres chipper middle period LvB. Adding to the allure: superb articulation married to fluid delivery and grooviness, albeit a sort of prep school grooviness. Gulda Kodama is not. The Scherzo, well its fine. Its just scampish enough, though Kodama is ultimately a well-mannered rogue wit. As befits the piece, she just cruises along happily enough, tossing in useful little insights, then Blam! a sharp, loud chord rudely interrupts the proceedings, before everything gets back on course. Here Ms Kodamas impressive dynamic range comes in handy! Things change pace dramatically with the Menuetto. Soothing, slow, saccharine, and ruminative in about equal measure, it seems somewhat out of tune with what came before. (Only somewhat because Ms Kodama is not really free-wheeling.) The middle section is a bit stiff and obviously underscored again. Enough of the negatives, back to the positives: the concluding Presto con fuoco recaptures the energy and drive of the earlier movements, though it takes a few bars to get there. Kodama throws in a most enjoyable touch when the playing after 210 briefly sounds like nothing less than a mirthfully sinister laugh, the hefty bass creating a whiff of unease. She then proceeds to the end in a most inviting way.
All told, this is not a great disc. Kodama can really play, theres no doubt of that, but she doesnt offer great insight or much interesting originality in the first two sonatas. The second of the bunch is a definite disappointment. But she redeems herself in the final sonata. Had only the entire recital been of that quality. Anyway, I dont know if Ill sample more of her Beethoven (Ha!), but I definitely wouldnt mind hearing her in something more modern. Shes got the chops to play whatever she wants, or so it seems. Maybe Boulez? Who knows, but Im sure Ill hear her playing something else.
SOTA sound, at least for the CD layer. I didnt bother with the SACD layer.