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! ! ! Beethoven - The Complete Piano Sonatas - John O'Conor

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Though several fine pianists have all taken a stab at the complete piano sonatas of Beethoven, among them Wilhelm
Kempff, Daniel Barenboim, Alfred Brendel, Claude Frank and Russell Sherman-all of whom had wonderful moments in their
sets - the only two pianists who have truly captured the Beethovian magic throughout their cycles were Artur Schnabel
and John O'Conor, for completely opposite reasons. 



Schnabel was probably the only pianist of his era who played the piano in a manner reminiscent of Glenn Gould. He
preferred an instrument with a lean tone, used the sustain pedal very rarely, and worked very hard to bring out inner
voices, counterpoint, fugues and canons. He played all of the fast movements at Beethoven's written tempi, even when his
flawed technique was not up to the task (the worst example being the first movement of the "Hammerklavier"),
and all of the slow movements slower than written. In many of these he was able to bring out a "spiritual"
quality that went straight to the heart of those Beethoven-lovers who saw his music in this vein. Yet in relistening to
his complete set, modern ears hear more problems in the later sonatas (22-32) than our forebears probably heard:
inaccurate playing of syncopated rhythms, for example in Sonata No. 29, and sometimes clumsy handling of some of those
slow movements (i.e., the first movement of Sonata No. 12). In many other sonatas, however-including the Op. 49 pair,
which were, after all, very early sonatas simply published in the middle of the series-his approach was nonpareil and
still remains an object-lesson for aspiring Beethoven pianists. 



O'Conor, by contrast, uses a rich-toned Steinway, is a master technician and a master of pedal effects. His Beethoven
does not always follow the written dynamic contrasts, especially in most of the early sonatas (1-11), because, as he
told me, "the fortepianos of Beethoven's time were incapable of them." Historically accurate, but not
necessarily the composer's intentions. We know that he was delighted when more powerful pianos appeared, shortly before
he lost his hearing for good (around 1805), and that he stated to friends that he thought of all his sonatas being
played on that kind of instrument. 



Yet, paradoxically, O'Conor's more legato phrasing and singing tone often brings out the very best in Beethoven,
particularly in sonatas 22-32 but also in numbers 12, 14 ("Moonlight") and 16, where he scores many points in
continuity over Schnabel. Moreover, he, too, brings out many of the inner voices whenever contrapuntal effects are
called for, and combined with his sterling technique and "binding" of phrases, this can create a mesmerizing
effect. I therefore feel that the best of both pianist's sets can combine to make a very satisfying set of the 32
sonatas. 



Your choice between them will, of course, be a matter of personal taste, but I can assure you that EMI's remastering of
the Schnabel recordings is nothing less than miraculous. Only rarely does one hear even the merest swish of the old
78-rpm records. They are noiseless, bringing out the very finest nuance of Schnabel's playing. And the O'Conor set is,
of course, digital, though I find that boosting the treble is sometimes necessary as Telarc has always tended to prefer
somewhat dull sound. 







Enjoy and Seed!!

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