Todd
New member
I figured I ought to give at least one other young-ish contemporary pianist a shot in Elveebees solo piano music. But who? Who am I kidding, I picked this up because Angelich starts with 'A', and eventually Ill work my way through as close to every pianist whos played this music as my bank account will allow. Anyway, Mr Angelich is a pianist new to me. The only things Ive read about his artistry have been mixed reviews of his EMI recording of solo Brahms. Brahms aint Beethoven, of course, so mixed reviews or no, I had to listen. The Beethoven disc is on the small Mirare label, and the recordings were laid down in early 2005, so this heres new stuff as far as Im concerned. And its not bad. Its not great, either. But its not bad.
The disc opens with the mighty Waldstein, which means that Angelich enters a field impossibly crowded by titans of the ivories. Angelich doesnt match them. No, if you want something of Gulda or Gilels or Annie Fischer (to choose three of many more than three) quality, you need to buy recordings made by them. When compared to Mari Kodama, though, Angelich fares better. (True, the Kodama disc I listened to has different works than here, but one can divine certain things about overall style and approach from one disc of key works.) Angelich opens the Allegro con brio with an even, quick but not too quick pace and keeps everything under absolute control. Nary a note or dynamic shading is out of place. The first foray into louder, more intense playing is likewise very controlled, creating a less than maximally exciting impression, but then when Angelich speeds up after 150 he plays with remarkable speed, agility, and clarity. Each and every note is pristinely played. Whats lacking is much in the way of passion or emotional involvement. The playing sounds calculated and intellectual, though its very good for what it is. This feeling carries over to the Introduzione, which sounds somber and cool yet still beautiful. The second theme sounds big and is somewhat drawn-out tempo wise, but it works well. The concluding Rondo opens in coolly anticipatory fashion, with the long transitional trill light and constant and ultimately (easily) overpowered by the surrounding music when the piece swells and expands. Control is again everywhere evident, but Angelich creates a grand and oomph-y enough sound to really keep ones attention focused. As the movement unfolds, some of the playing veers perilously close to stiffness but, fortunately, never quite gets there. In some ways the individual parts are greater than their sum, if you will, and as a result it just doesnt match up to the best out there. But its good.
The Op 26 sonata fares better. No, Angelich doesnt really let loose everything is kept under tight rein but the specific interpretive tricks he uses work better. The opening Andante theme benefits from Angelichs superb control. Tempo and dynamics are well nigh perfect, and the tasteful control over tone and feeling really works. The first variation picks things up a bit, as it should; the second has an intriguingly accented rhythm to it, sounding both flowing and chunky, if you will; and the remaining variations all flow together perfectly and sound nicely varied and controlled. The Scherzo never really attains the type of speed and drive I tend to prefer, but Angelichs initially restrained approach creates a nice contrast to the significant power and momentum he generates during crescendos. The Funeral March starts out and stays strong and insistent, but not pressed, and displays superb dynamic gradation throughout. Pianists often pick up speed when playing really loud, but Angelich keeps an even tempo while playing to the nose-bleed seats. The middle section displays more in the way of energy and drive, but then it returns to, well, Angelichs bombastically restrained style. Im not sure how eroica this funeral march is, but it works. Angelich concludes the work with a well-paced Allegro with wide dynamic swings, and, as always, he keeps things under precise control. No, Angelich doesnt match up to Claude Frank or Michelangeli, say, but this ends up being the highlight of the disc.
Given what came before, I cant say that I approached the great Op 111 with the highest expectations. I expected a superbly played, controlled, and ultimately too restrained and calculated reading. These expectations were pretty much met. To the Maestoso: it lacks the kind of drive and bite that I prefer, yet it possesses clarity and gravitas. The Allegro con brio ed appassionato? Much the same. Wheres the fearsome, ominous sound? I wondered. Angelich does add some intensity to the fastest passages, and the lower registers sound nicely rumbly, but it doesnt scale the heights. The Arietta is more successful. Angelichs playing sounds slow and beautiful and lucid to open, then morphs into that transportive, meditative sound this music demands. The first variation actually works very well, carrying on the mood established in the second half of the Arietta and going just a bit further. The second variation picks up a bit, slyly hinting at whats to come in the next variation while remaining self-contained. The third variation is good, but most certainly does not have the boogie factor that some other readings display, what, with the somewhat low-wattage start. Angelich deploys his trick of starting slow and steady just to build up to something weightier and grander. Thats not a bad thing, but its not terribly successful here. After this, though, the playing does transform wonderfully into the ethereal style that so befits the piece. The long chains of trills sound blurred much of the time, and are definitely a bit softer than in my favorite readings, though that adds to that ethereal sound. I prefer numerous recordings to this one, but it aint bad.
I guess that sums up the whole disc. Angelich certainly possesses superb technique, and he just as certainly scrutinizes the scores of the music he plays in great detail. Well, at least here that seems the case. He never really lets loose and can never shake a calculated sound. Some passages sound amazing, and Angelichs broad dynamic range, generally appealing sound, and precise control all work in his favor. Sometimes the last trait works against him, though. I may seem too critical. I do like this disc, but its not a must-hear, and better is available in every work. I prefer this to the Mari Kodama disc I recently wrote about, though its not exactly a whole lot better. Perusing Mr Angelichs discography, I spied a recording of the criminally neglected complete Annees de Pelerinage. Perhaps Mr Angelich can work magic with Liszt. Im probably going to find out.
Sound for the disc is very good if a bit bright at times.
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The disc opens with the mighty Waldstein, which means that Angelich enters a field impossibly crowded by titans of the ivories. Angelich doesnt match them. No, if you want something of Gulda or Gilels or Annie Fischer (to choose three of many more than three) quality, you need to buy recordings made by them. When compared to Mari Kodama, though, Angelich fares better. (True, the Kodama disc I listened to has different works than here, but one can divine certain things about overall style and approach from one disc of key works.) Angelich opens the Allegro con brio with an even, quick but not too quick pace and keeps everything under absolute control. Nary a note or dynamic shading is out of place. The first foray into louder, more intense playing is likewise very controlled, creating a less than maximally exciting impression, but then when Angelich speeds up after 150 he plays with remarkable speed, agility, and clarity. Each and every note is pristinely played. Whats lacking is much in the way of passion or emotional involvement. The playing sounds calculated and intellectual, though its very good for what it is. This feeling carries over to the Introduzione, which sounds somber and cool yet still beautiful. The second theme sounds big and is somewhat drawn-out tempo wise, but it works well. The concluding Rondo opens in coolly anticipatory fashion, with the long transitional trill light and constant and ultimately (easily) overpowered by the surrounding music when the piece swells and expands. Control is again everywhere evident, but Angelich creates a grand and oomph-y enough sound to really keep ones attention focused. As the movement unfolds, some of the playing veers perilously close to stiffness but, fortunately, never quite gets there. In some ways the individual parts are greater than their sum, if you will, and as a result it just doesnt match up to the best out there. But its good.
The Op 26 sonata fares better. No, Angelich doesnt really let loose everything is kept under tight rein but the specific interpretive tricks he uses work better. The opening Andante theme benefits from Angelichs superb control. Tempo and dynamics are well nigh perfect, and the tasteful control over tone and feeling really works. The first variation picks things up a bit, as it should; the second has an intriguingly accented rhythm to it, sounding both flowing and chunky, if you will; and the remaining variations all flow together perfectly and sound nicely varied and controlled. The Scherzo never really attains the type of speed and drive I tend to prefer, but Angelichs initially restrained approach creates a nice contrast to the significant power and momentum he generates during crescendos. The Funeral March starts out and stays strong and insistent, but not pressed, and displays superb dynamic gradation throughout. Pianists often pick up speed when playing really loud, but Angelich keeps an even tempo while playing to the nose-bleed seats. The middle section displays more in the way of energy and drive, but then it returns to, well, Angelichs bombastically restrained style. Im not sure how eroica this funeral march is, but it works. Angelich concludes the work with a well-paced Allegro with wide dynamic swings, and, as always, he keeps things under precise control. No, Angelich doesnt match up to Claude Frank or Michelangeli, say, but this ends up being the highlight of the disc.
Given what came before, I cant say that I approached the great Op 111 with the highest expectations. I expected a superbly played, controlled, and ultimately too restrained and calculated reading. These expectations were pretty much met. To the Maestoso: it lacks the kind of drive and bite that I prefer, yet it possesses clarity and gravitas. The Allegro con brio ed appassionato? Much the same. Wheres the fearsome, ominous sound? I wondered. Angelich does add some intensity to the fastest passages, and the lower registers sound nicely rumbly, but it doesnt scale the heights. The Arietta is more successful. Angelichs playing sounds slow and beautiful and lucid to open, then morphs into that transportive, meditative sound this music demands. The first variation actually works very well, carrying on the mood established in the second half of the Arietta and going just a bit further. The second variation picks up a bit, slyly hinting at whats to come in the next variation while remaining self-contained. The third variation is good, but most certainly does not have the boogie factor that some other readings display, what, with the somewhat low-wattage start. Angelich deploys his trick of starting slow and steady just to build up to something weightier and grander. Thats not a bad thing, but its not terribly successful here. After this, though, the playing does transform wonderfully into the ethereal style that so befits the piece. The long chains of trills sound blurred much of the time, and are definitely a bit softer than in my favorite readings, though that adds to that ethereal sound. I prefer numerous recordings to this one, but it aint bad.
I guess that sums up the whole disc. Angelich certainly possesses superb technique, and he just as certainly scrutinizes the scores of the music he plays in great detail. Well, at least here that seems the case. He never really lets loose and can never shake a calculated sound. Some passages sound amazing, and Angelichs broad dynamic range, generally appealing sound, and precise control all work in his favor. Sometimes the last trait works against him, though. I may seem too critical. I do like this disc, but its not a must-hear, and better is available in every work. I prefer this to the Mari Kodama disc I recently wrote about, though its not exactly a whole lot better. Perusing Mr Angelichs discography, I spied a recording of the criminally neglected complete Annees de Pelerinage. Perhaps Mr Angelich can work magic with Liszt. Im probably going to find out.
Sound for the disc is very good if a bit bright at times.
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