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Todd reviews Wilhelm Backhaus (Decca, Mono, early 1950s)
Stereophile Forums: Beethoven's Piano Sonatas; Or: A whole lotta cycles!
in
http://forum.stereophile.com/forum/showflat.php?Cat=0&Number=4414&page=0&fpart=all&vc=1
[This is the second complete cycle to have recorded. Schnabel's was the
first and Kempff's was the third. Kempff did record most of them on
acoustic and electrical 78s. My Kempff discography can be found at
http://www.panix.com/~checker/kempff.htm. al-Brendel's for Vox was the
fourth and Kempff's stereo remake the fifth. The first three are my own
favorites by far, though I have not heard that many others.]
by Todd#5736 - 03/12/06 11:42 AM (67.2.42.161)
Wilhelm Backhaus (Decca, Mono, early 1950s)
To my mind the biggest hole in my Beethoven sonata collection has
been the absence of Wilhelm Backhaus. Ive had a solitary disc of
his stereo cycle for a while, and the recordings on that disc all
compare very favorably to anyone. Indeed, until hearing Friedrich
Guldas monumental Amadeo recording of the Tempest sonata, I more or
less found Backhaus the best in that sonata. Clearly I had to hear
what the old German master had to say, as it were, in this most
august solo piano repertoire. Determined to hear his take on the
32, I then had to decide which of the two cycles, the mono cycle or
the stereo cycle. Since Backhaus was already in his late 60s by the
time of his mono set, I figured I should go for that one. While he
certainly displays a more than adequate technique in the stereo
disc I own, I figured hed be closer to his prime in the mono
recordings. So I found it and bought it and have started listening
to it.
1. Getting things underway with the first sonata finds a curious
recording. Backhaus is somewhat slow to start, and is extremely
serious, with little in the way of charm. Gradually he picks up the
pace, but he never shakes a slightly mannered, unsmiling sound. The
Adagio is deliberate, but now a bit of feeling is infused into the
playing, bringing it to life. Backhaus varies dynamics and color
nicely, though he never adopts extremes, and he never sounds
especially beautiful. The third movement is even more varied and
buoyant and almost irresistible. The final movement starts as the
first one did a bit slow and mannered; it sounds consciously carved
and not freely flowing. Its never heavy, never ponderous, but never
really nice and fiery. Yet I thoroughly enjoyed the recording.
2. The second sonata opens in a more jovial mood, though its still not
free. It sounds very deliberately planned and played. The Largo is
relatively fast and shows a greater degree of flexibility, but only
within a well-defined range, and it displays a fine tone. All of
this combines to create an insistent, march-like sound. The Scherzo
is light and fast, articulate and infectious. One just sits
spellbound by the playing. The concluding movement is light and
varied, but it maintains an underlying seriousness. Backhaus may be
smiling, but its a forced smile.
3. As I started the third sonata I thought I had Backhaus pegged: hes
deadly serious much like Gulda and plays within a defined, limited
range, but plays as well as can be. But then he throws a curve
ball. The work opens in more or less standard fashion, but then
Backhaus just tears into the work, spinning off notes in a
dazzling, dizzying way, just to slow way down for a bit to
highlight a passage, and then returning to a high-speed,
high-impact style. He plays almost recklessly fast at times. His
rubato, his whole style betrays his heritage; he was born in the
1880s, after all. Why should he just stick to a specific approach?
Anyway, the Adagio is generally quite fast, and is filled with
subtle coloring and rubato to bring it to life. Its not the most
moving reading Ive heard, but it is very effective. The Scherzo
continues the quick playing that Backhaus adopts through the work,
but despite the speed, or perhaps because of it, everything just
flows together beautifully. So of course it should not be
surprising to learn that the final movement is fast, but Backhaus
keeps it all under control.
4. Okay, so now I had him pegged, I thought: hes serious and allows
himself generous leeway in tempi, though he tends to play fast. The
Op 7 sonata had other things in store. The opening movement is
actually played relatively slow, and while I like that, I also
prefer a more relaxed sound, which this does not have. Yet I like
it. A lot. Backhaus basically allows himself the flexibility to do
whatever he wants, whenever he wants. His playing takes on an
almost erratic feel. The Largo just reinforces this. It is a bit
stiff throughout and a bit graceless in spots, and Backhaus tone
varies a lot, too. For a while its lean and stripped down, then its
richer and softer, then bright and hard. These changes can last for
mere seconds or for entire passages. It all depends. The Allegro
continues along this unpredictable path by being extremely
well-paced and quite lovely in parts. The final movement is
something of a marvel. Backhaus starts off fast and plays most of
the work quickly, but hell slow down to savor a beautiful passage
when he deems it appropriate. But hes a bit inconsistent. You think
you know when hell do it, but he doesnt. After repeated listens
(which Im absolutely confident this work will get) Ill know what to
expect, but the first run through is filled with surprises.
[The final minute and a half of the stereo remake of No. 4 is one of the
glories of recorded music, the way it lifts into the empyrean.]
5. The first of the Op 10 sonatas displays Backhaus traits well. The
opening movement is just a tad on the slow, rich side he certainly
doesnt rush the opener like his contemporary Schnabel yet it all
works splendidly. The piece moves along with an irresistible flow
that just sounds right. The Adagio is beautiful and moving, yet
even here he cant seem to leave well enough alone. He cuts some
chords short, seemingly for no reason, slightly dampening the
overall effect. But fortunately not much. The final movement opens
very slowly then builds up speed, and then alternates tempi through
to the end. Backhaus delivery is different than anyone else Ive
heard, yet it all works so well I cant offer a single serious
complaint.
6. The second sonata again begins slowly I think I detect a pattern
but then, out of the blue, Backhaus speeds up not a little, but a
lot. He repeats this pattern a few times, and each time it sounds a
bit frazzled though always under control. The second movement is
quick, articulate, and possesses a serious, contemplative sound.
The third movement, shorn of its repeat, sounds amazingly light and
carefree. All these disjointed elements work to create a slightly
off-kilter feel, but one that jells and works exceedingly well.
7. The final sonata of the group offers playing that almost turns the
work into a miniature drama. The first movement sounds natural.
Nothing is rushed, nothing is out of place; everything is free and
flexible and sounds very attractive. The second movement starts in
a flowing, attractive, yet serious manner, only to be transformed
by some urgent, unsettled playing, changing the whole mood. Why?
One wonders, but as Backhaus reverts to a more conventional take,
it just seems to make sense, even though it cannot be properly
described. The third movement is more upbeat and vital, though even
it has some unique moments. The final movement opens with some
surprisingly tender playing, then moves to a free, open sound, but
then it, too, shifts again, to a more serious, contemplative sound,
before shifting yet again. What is Backhaus getting at? I for one
must listen again to try to figure it out. It is a remarkable
recording.
8. So now comes the Pathetique. I figured Backhaus would go for fast,
vital, and pointed approach. Nope. The piece actually opens softly,
with some weaker than expected chords and slower than expected
runs. But an anticipatory, subdued nervous feeling makes itself
known and persists. Backhaus slowly and carefully builds up
tension, but he never releases it, rather choosing to let it abate
but never disappear. The cumulative effect is engrossing. One waits
to hear what happens next. The second movement never really goes
too slow or too deep, but rather focuses on maintaining that
subdued and unreleased tension. The finale offers more of the same,
and Backhaus just never lets loose like he obviously can. Its a bit
maddening, really, and Backhaus is obviously playing it a bit safe,
a bit comfortable. But for the life of me, it works! Indeed, I can
think of few recordings I like a lot more.
9-10. I came upon the Op 14 sonatas ready for glossed over recordings
acting as a bridge to the bigger works to come. Backhaus style
seems better suited to bigger, more serious works. Or so I thought.
These recordings are quite possibly the greatest Ive heard of these
two works. The first sonata opens familiarly: its just a smidgeon
slower than I usually prefer, but then turns fast, then slow, then
fast again, then slow again, all seamlessly and effortlessly. Its
relaxed. Its cheery. Its spiffy. The second movement is just about
perfect: its perfectly paced with perfect dynamics and perfect
tone. Its light and refreshing and amazing. The final movement is,
well, its friggin perfect. Marvelous, articulate fingerwork and
perfect weight (not too much) combined with a free and flexible
style out of a past age all combine to make it perfect. The second
sonata isnt quite played to the same level of perfection, but its
close. The slightly cutting sound cannot mask the marvelously light
and flexible playing of the first movement. Despite a bit of
brittleness, the second movement is just peachy: light, charming,
and tender, it captivates with each wonderful note. To finish off
the work is a plucky n ducky and effortless final movement, with
Backhaus deploying his rubato subtly and discreetly and most
effectively. These two recordings offer some serious fun. Amazing.
Even in the first ten sonatas it is clear that this is Beethoven
playing on an altogether higher level than most pianists ever
achieve. When I consider the two excellent cycles I just finished,
Lucchesini and Lipkin, they merely serve to underscore just how
good Backhaus is. I said of Lipkin that even when I disagree with
his choices, he still makes the piece work. With Backhaus, while
some playing here and there may not sound ideal at first, he makes
me realize that he is right and I a knave for even questioning his
judgment. His Beethoven sounds right and sounds, as much as I
dislike this description, natural. This is how Beethoven should
sound. Finally, Friedrich Gulda has been matched. Maybe even Annie.
I must hear more to know for sure.
Some quick words on sound. The recordings show their age. Some
distortion and breakup can be heard in places, and some upper
register notes have an unpleasant ring to them (its definitely the
recording and not the playing), but overall the sound is more than
acceptable given the age of the recordings.
11. Would Backhaus sound as impressive in the next batch? I wondered.
It took almost no time at all to hear the answer: Yes! The Op 22
sonata can be a difficult one to pull off successfully, and there
are a number of ways to do it. Backhaus finds his own way. The
opening movement is taken at a nice clip, alert and flexible, but
not too quick. The second movement is quite marvelous. Theres a
relaxed feel about it, but also a sort of less-is-more approach. It
seems stripped down, with little in the way of showiness or excess
anything. The third movement finds Backhaus really digging in,
hammering out the notes with notable strength and force, but he
never devolves into mere banging; there is sense of control and
ultimate restraint. Its quite nice. The final movement is tense and
not ideally flowing, but, in Backhaus conception, caps off yet
another fine recording.
12. The Op 26 sonata opens in glorious fashion. Backhaus playing of the
Andante theme is the epitome of direct, unaffected Beethoven
playing, with everything sounding so right that complaints are
frivolous. As the variations begin, the playing changes to a more
austere, almost hard sound, but even that works. The Scherzo is
driven, and rather charmless, but still, particularly in this work,
effective. The funeral march is very solemn and very serious, but
its not big or grand or especially funereal, nor is it effective as
a march. Yet the solemnity makes the movement. Backhaus chooses to
end this serious, almost dour interpretation with a final movement
that is harder and more serious than is usually ideal, but not
here.
13. Time for the first of the Sonatas quasi una fantasia. Would
Backhaus be fantastic or something else, something sterner?
Something sterner is the answer, at least initially. The piece
opens in a serious, almost heavy way, hardly creating a fantastic
or partially fantastic sound world, yet it sounds appealing. Then
Backhaus transitions to an almost blistering fast Allegro section.
The return to the initial theme is lighter than before and is quite
effective. The second movement starts slowly and quietly and doesnt
really break out until the end; Backhaus almost treats the movement
as one long crescendo. The Adagio is slow and somber and if its not
especially moving, it still sounds fine to me. The final part of
the work is taken as a hard, fast gallop, and though it eases up a
bit before the end, the coda is also quite fast. Backhaus plays
this work in mercurial fashion to say the least, and if it doesnt
quite scale the heights, its quite good.
14. The same cant be written about the Mondschein sonata. No, this is
one of the greatest recordings this work has ever received! The
opening movement sounds exactly like it should, exactly like I have
always hoped it would. It is dark, somber, with a sense of
melancholy, and Backhaus uses the sustain pedal just so, creating
the perfect degree of haze and blur. It sets the mood perfectly.
Perfectly! The second movement sounds brighter, and more upbeat at
least compared to the opening movement and Backhaus refrains from
too much of anything: speed, volume, expressiveness. Its all
perfectly realized. The third movement is almost perfect. Only some
slightly unclear passages and wobbly, insecure playing (as at 139
and a few other spots) mar an otherwise ideal realization of the
movement. Backhaus desynchronized left hand offers a rocking, solid
underpinning to the right, and if he never completely lets loose,
he plays with enough of all the right elements to make this one to
hear again and again.
15. The Pastorale is not quite as successful. The opening has odd,
stilted left hand playing that seems out of place, though Backhaus
quickly gains a more solid footing, as it were. Even so, the
opening movement never really flows. Between the 2 and 3 or so
mark, the piece takes on an unusually tense sound, though it
reverts back to a more standard conception. The Andante sounds
relatively standard in conception, and is delivered extremely well,
though even here there are tense, terse moments that seem a bit out
of place. The Scherzo, though, is quick and bubbly and eminently
enjoyable. The final movement is quick and charming, with Backhaus
happily dashing off the notes. To an extent it reminds me of
Giesekings approach to Beethoven, though the tone and style is
still uniquely Backhaus. Overall, this is a good reading, but its
not one of the highlights of the cycle.
16. So now its time for the critical Op 31 sonatas. Ive had his stereo
take of the Tempest for a while, and I love that one, so I had very
high hopes for that one going in, but what about the others? Well,
the first sonata satisfies, thats for sure. The quick, alert, and
generally light playing of the opening more than offsets the
occasional opacity and stiffness of the playing. The mood is right,
and thats what matters most. The second movement is playful, with
Backhaus injecting unique little touches everywhere. He opens most
of the trills at a moderate pace only to speed up to just the right
tempo in a smooth, effortless way. Backhaus agility and clarity
here are really superb, as is amply demonstrated in the remarkably
fast middle section. Perhaps some may find it a bit rushed, but
damn, its fun! The concluding Rondo offers more of the same, and
even if its not technically the most secure recording Ive heard,
the unyielding forward momentum makes it one of the most enjoyable.
So, one winner out of one.
17. The Tempest makes it two. The work opens in slow, dark, and
mysterious fashion, and maintains these qualities pretty much
throughout. As a result, this becomes an almost grim reading, with
Backhaus opting to not play the dynamic contrasts in a flashy way,
but rather in a downtrodden, moody way, making the piece alter
between despair and agony. Uplifting it may not be, but it is quite
effective. The Adagio is a bit mannered and overly controlled, but
in the context of this recording it sounds right. The final
movement is sharp, pointed, urgent, and a bit unyielding. Yes, this
is a dark conception of the work, and if I still prefer his stereo
remake a bit more, this is unquestionably a fine reading.
18. The final sonata of the trio makes it three! Fast, vital, and a bit
rough at times, Backhaus just burns right through the opener. Gruff
humor abounds, and it sounds just peachy. The Scherzo keeps up this
feeling. Maybe the Menuetto is a bit stiff, but Backhaus uses
perfect tempi, a perfect tone, and creates the perfect feeling. The
same holds true for the conclusion. Overall, the forward momentum
interrupted by basically cheery and rough outbursts evokes just the
feeling I like.
So, Backhaus nails the critical three, and otherwise does an
admirable or (far) better job on every other sonata in the eight
sonatas in this batch. As with the opening group of ten sonatas,
everything sounds so right, so natural that I cant resist. This is
indeed Beethoven playing of the highest order.
19-20. Moving along to the Op 49 sonatas finds Backhaus in fine form, and
shows that he can do extremely well in small, less grand fare. The
first of the sonatas is just fine: its not too heavy, and though
Backhaus definitely favors quick tempi, he still displays a nicely
variable touch and never ticks over into overbearing intensity.
Better is the second sonata. The opening movement is superb, and
continues along the same lines as the first sonata. But the reason
to hear this recording is unquestionably the second movement. Light
n tight n fun, Backhaus revels in the music and plays with a tender
touch. He does better than most in evoking the wonderful Septet.
Superb.
21. Now its time for some weightier fare. Counter to my expectations,
Backhaus doesnt open the Waldstein especially fast. Hes not slow,
mind you, he just doesnt rip through it. He does manage to
establish a unique and uniquely appealing brusque yet touching feel
to the opener. The second movement comes across as somber,
searching, and brooding with only some sharp, biting playing to add
variability. Its not a feel-good sound (and thats good for me).
Given the somewhat hard and dark preceding movements, Backhaus does
something nearly magical with the third: he opens in gentle, tender
fashion, then builds up the movement with physically strong and
emotionally moving playing. Indeed, the whole work seems to build
up to the end; any minor reservations I may have had here and there
in the first part of the work are washed away by the cumulative
power of the recording. I dont know, the cutting sound may even
have helped things out.
22. For the Op 54 sonata, Backhaus opts for a fast and intense
approach, or at least notably more so than many interpreters. The
opening movement is largely fast and punchy, though Backhaus does
back off in a few spots for some softer playing. The second
movement, though, is almost all fast and furious. Sometimes
Backhaus threatens to tip over into outright reckless playing, with
no regard for accuracy, but he never quite does. It creates an air
of excitement. Throw in some greater than normal low register heft,
and what one has here is some high intensity middle Beethoven. Tis
pretty good.
23. I admit to liking Backhaus stereo Appassionata and assumed I would
like this one, too. I do. But not as much. Backhaus opens up with a
hard, intense, and metallic sound, though he also sounds a bit
short of completely assured. He just wallops out the piece, though
even he cant maintain the highest level of intensity throughout.
The piano sound is colorless and cold, and that actually works
here. The Andante is well played but a bit cool, and it maintains
the same colorless, cold sound. Backhaus turns up the heat in the
second half, and things improve a bit, though the very end of the
movement ends a bit strangely. It seems more contained than a lead
in to the final movement. The final movement is intense throughout,
though the lack of the repeat detracts from the success of the
work, as is invariably the case. So, while this is an intense
reading, there is quite a bit missing, and while still good, I
still prefer the stereo remake as well as a number of others.
24-25. Now its time for a trio of sonatas where Backhaus is among the very
best interpreters, and perhaps even the best. The Op 78 and 79 and
Les Adieux from his stereo set have ranked among my very favorites
since I first heard them, so I had very high expectations here.
They were more than met. Backhaus has the Op 78 down cold.
Everything about it is perfect: its perfectly weighted (not too
heavy or ponderous) and perfectly paced (fast, but not too fast),
with a perfectly variable touch and discreet rubato and pedaling.
Its simultaneously light and serious. The same can pretty much be
said about the Op 79 sonata. Backhaus opens in ideal fashion fast,
strong, and articulate but never cutting. The forward momentum he
generates means that Backhaus may burn through the humorous off-key
portion near the end, but any complaints are so minor as to be
piffle. The second movement is surprisingly somber and weighty and
attractive, serving to add heft to the piece. Tis sublime. And in
the final movement, Backhaus again pulls off the trick of being
simultaneously serious and light. He is amazing in these works.
[The stereo remake of No. 25 is esp. great.]
26. Ditto the 81a. The work opens in a nicely disconsolate,
contemplative fashion. To heighten this effect, Backhaus chooses to
hold back on the first crescendo he doesnt want to give away
anything too early. The restraint adds a nice bittersweet feel to
the movement. The second movement starts off in a sad, ruminative,
and surprisingly aloof and cold way. The end of the movement builds
up with expectation for the friends return, and when it happens,
the third movement is exultant and thrilling, with more of Backhaus
fast and strong playing and what sounds to be genuine happiness. He
knocks this one out of the park.
Another eight sonatas down, and, if anything, my opinion of Mr
Backhaus has only improved. What will the late sonatas bring?
[Now for the late sonatas, I sharply disagree with the assessments here
and regard Backhaus's performances as among the great glories of the set
and of any set. It is true that they do not grab you immediately, but it
can take repeated playing to get into his specific style. After one grasps
that style, one can see it fully at work in the late sonatas. It's just
that it is not apparent at once. The stereo remake of No. 31 is especially
good, as I noticed with Nos. 4 and 25. Happily, the three comprised, in
its original issue on London, a single disk. Try to find it and then
you'll try to find the entire set!]
28. Time for the late sonatas. Surely, given the quality of the cycle
thus far, Backhaus should be irreproachable in the late works. It
aint so. That doesnt seem evident with the Op 90 sonata, though.
This one shows those Backhaus traits that so often inform the
earlier sonatas: he prefers swift tempi overall; he plays in a less
than ideally lyrical way; he plays with fine articulation and
strength; he makes the music exciting. Yep, thats some good stuff.
The second movement does sound more lyrical and offers a more
variegated color palette, though even here Backhaus brings some
incisive playing in a few places where many dont. While not one of
my top choices, this is excellent.
29. The same holds true for the Op 101 sonata. The opening is again
fast and a bit ungraceful. It doesnt really stir ones soul or
imagination, though; its not especially deep. The second movement
continues in the very good but not ideal vein with a nice if clunky
march. The third movement, though, shows the first hints of what
plagues some of the later sonatas there is an ascetic, stripped
down, rather cold feeling to the music making. Its neither
intellectually or emotionally enriching enough; Backhaus gives the
impression of merely spinning notes at times. The work improves
with a quick, peculiarly upbeat final movement possessing the
energy of some earlier sonatas, the slow coda notwithstanding. This
is a good rendition of the work, but theres something missing.
That isnt as much a problem with the Hammerklavier. I came to this
recording with extremely high expectations. Ive read and heard
praise for this, with claims that it is among the best recordings
of this work perhaps even the best. I cant say that Im that
enthusiastic about it. The problem comes in the first two
movements. Backhaus takes tempi slower than I tend to favor. (He
dont use no whipcrack, Gulda-like approach.) And while hes not a
slouch technically, he lacks the ideal degree of mastery of the
piece. Hes certainly no Pollini. But even ignoring other pianists
something essentially impossible to do it seems too stiff and
contrived at times. Yes, he does imbue the movements with some
genuine excitement at times, and he speeds up appreciably in some
sections, but its not quite what Id hoped for. The Adagio, on the
other hand, is quite simply one of the greatest Ive heard. I admit
that this movement can sound a bit too long in some recordings, but
Backhaus nearly suspends time and plays with a desolate and
searching feeling and creates a sense of inevitability, if you
will; everything that he plays can sound that way and only that
way. It is amazing. Scarcely less impressive is the finale. The
Largo is nice if perhaps a bit impatient Backhaus evidently wants
at that fugue. When he gets there he delivers. It is relentlessly
driven and possessed of a, well, possessed intensity and
seriousness that not even patches of less than perfect clarity can
mar. Yessir, this heres a good final movement. But, as with all of
Ludwig vans sonatas, one must consider the whole, and there
Backhaus does fall short of the very best.
[The comments on the last three are disappointingly brief.]
30. The real problems with the late sonatas are to be found in the last
three. The Op 109 encompasses most of what is wrong with them. He
plays too quickly and the work sounds downright disjointed at
times. His phrasing can be odd. At times he plays with seeming
disdain for whats written. Very little if anything can be called
beautiful. (In this work, only the first variation in the final
movement falls into that category.) There is not much if anything
that can be called transcendent or spiritual or philosophical here.
31-32. In the Op 110 a feeling that Backhaus just doesnt connect with the
piece enters into the picture. In the last sonata he adds a glossed
over feeling. Everything is basically too fast and not strongly
characterized; the opening never sounds ominous or especially dark,
the Arietta is ascetic and almost unpleasant. Yet. Yet these
sonatas arent disasters. Theres no doubt that they arent top
contenders, but they do work as dismissive, almost disdainful
alternative approaches. I just cant see myself spinning them too
often.
Even with the relatively disappointing late sonatas especially the
last three Backhaus mono cycle must be considered one of the
greats. So much of what he does sounds so right that its hard to
find serious fault with his playing. Gripes are mostly minor;
praise is largely unnecessary. This is a monumental cycle and one
that wish I would have heard earlier. Better late than never, I
guess.
Stereophile Forums: Beethoven's Piano Sonatas; Or: A whole lotta cycles!
in
http://forum.stereophile.com/forum/showflat.php?Cat=0&Number=4414&page=0&fpart=all&vc=1
[This is the second complete cycle to have recorded. Schnabel's was the
first and Kempff's was the third. Kempff did record most of them on
acoustic and electrical 78s. My Kempff discography can be found at
http://www.panix.com/~checker/kempff.htm. al-Brendel's for Vox was the
fourth and Kempff's stereo remake the fifth. The first three are my own
favorites by far, though I have not heard that many others.]
by Todd#5736 - 03/12/06 11:42 AM (67.2.42.161)
Wilhelm Backhaus (Decca, Mono, early 1950s)
To my mind the biggest hole in my Beethoven sonata collection has
been the absence of Wilhelm Backhaus. Ive had a solitary disc of
his stereo cycle for a while, and the recordings on that disc all
compare very favorably to anyone. Indeed, until hearing Friedrich
Guldas monumental Amadeo recording of the Tempest sonata, I more or
less found Backhaus the best in that sonata. Clearly I had to hear
what the old German master had to say, as it were, in this most
august solo piano repertoire. Determined to hear his take on the
32, I then had to decide which of the two cycles, the mono cycle or
the stereo cycle. Since Backhaus was already in his late 60s by the
time of his mono set, I figured I should go for that one. While he
certainly displays a more than adequate technique in the stereo
disc I own, I figured hed be closer to his prime in the mono
recordings. So I found it and bought it and have started listening
to it.
1. Getting things underway with the first sonata finds a curious
recording. Backhaus is somewhat slow to start, and is extremely
serious, with little in the way of charm. Gradually he picks up the
pace, but he never shakes a slightly mannered, unsmiling sound. The
Adagio is deliberate, but now a bit of feeling is infused into the
playing, bringing it to life. Backhaus varies dynamics and color
nicely, though he never adopts extremes, and he never sounds
especially beautiful. The third movement is even more varied and
buoyant and almost irresistible. The final movement starts as the
first one did a bit slow and mannered; it sounds consciously carved
and not freely flowing. Its never heavy, never ponderous, but never
really nice and fiery. Yet I thoroughly enjoyed the recording.
2. The second sonata opens in a more jovial mood, though its still not
free. It sounds very deliberately planned and played. The Largo is
relatively fast and shows a greater degree of flexibility, but only
within a well-defined range, and it displays a fine tone. All of
this combines to create an insistent, march-like sound. The Scherzo
is light and fast, articulate and infectious. One just sits
spellbound by the playing. The concluding movement is light and
varied, but it maintains an underlying seriousness. Backhaus may be
smiling, but its a forced smile.
3. As I started the third sonata I thought I had Backhaus pegged: hes
deadly serious much like Gulda and plays within a defined, limited
range, but plays as well as can be. But then he throws a curve
ball. The work opens in more or less standard fashion, but then
Backhaus just tears into the work, spinning off notes in a
dazzling, dizzying way, just to slow way down for a bit to
highlight a passage, and then returning to a high-speed,
high-impact style. He plays almost recklessly fast at times. His
rubato, his whole style betrays his heritage; he was born in the
1880s, after all. Why should he just stick to a specific approach?
Anyway, the Adagio is generally quite fast, and is filled with
subtle coloring and rubato to bring it to life. Its not the most
moving reading Ive heard, but it is very effective. The Scherzo
continues the quick playing that Backhaus adopts through the work,
but despite the speed, or perhaps because of it, everything just
flows together beautifully. So of course it should not be
surprising to learn that the final movement is fast, but Backhaus
keeps it all under control.
4. Okay, so now I had him pegged, I thought: hes serious and allows
himself generous leeway in tempi, though he tends to play fast. The
Op 7 sonata had other things in store. The opening movement is
actually played relatively slow, and while I like that, I also
prefer a more relaxed sound, which this does not have. Yet I like
it. A lot. Backhaus basically allows himself the flexibility to do
whatever he wants, whenever he wants. His playing takes on an
almost erratic feel. The Largo just reinforces this. It is a bit
stiff throughout and a bit graceless in spots, and Backhaus tone
varies a lot, too. For a while its lean and stripped down, then its
richer and softer, then bright and hard. These changes can last for
mere seconds or for entire passages. It all depends. The Allegro
continues along this unpredictable path by being extremely
well-paced and quite lovely in parts. The final movement is
something of a marvel. Backhaus starts off fast and plays most of
the work quickly, but hell slow down to savor a beautiful passage
when he deems it appropriate. But hes a bit inconsistent. You think
you know when hell do it, but he doesnt. After repeated listens
(which Im absolutely confident this work will get) Ill know what to
expect, but the first run through is filled with surprises.
[The final minute and a half of the stereo remake of No. 4 is one of the
glories of recorded music, the way it lifts into the empyrean.]
5. The first of the Op 10 sonatas displays Backhaus traits well. The
opening movement is just a tad on the slow, rich side he certainly
doesnt rush the opener like his contemporary Schnabel yet it all
works splendidly. The piece moves along with an irresistible flow
that just sounds right. The Adagio is beautiful and moving, yet
even here he cant seem to leave well enough alone. He cuts some
chords short, seemingly for no reason, slightly dampening the
overall effect. But fortunately not much. The final movement opens
very slowly then builds up speed, and then alternates tempi through
to the end. Backhaus delivery is different than anyone else Ive
heard, yet it all works so well I cant offer a single serious
complaint.
6. The second sonata again begins slowly I think I detect a pattern
but then, out of the blue, Backhaus speeds up not a little, but a
lot. He repeats this pattern a few times, and each time it sounds a
bit frazzled though always under control. The second movement is
quick, articulate, and possesses a serious, contemplative sound.
The third movement, shorn of its repeat, sounds amazingly light and
carefree. All these disjointed elements work to create a slightly
off-kilter feel, but one that jells and works exceedingly well.
7. The final sonata of the group offers playing that almost turns the
work into a miniature drama. The first movement sounds natural.
Nothing is rushed, nothing is out of place; everything is free and
flexible and sounds very attractive. The second movement starts in
a flowing, attractive, yet serious manner, only to be transformed
by some urgent, unsettled playing, changing the whole mood. Why?
One wonders, but as Backhaus reverts to a more conventional take,
it just seems to make sense, even though it cannot be properly
described. The third movement is more upbeat and vital, though even
it has some unique moments. The final movement opens with some
surprisingly tender playing, then moves to a free, open sound, but
then it, too, shifts again, to a more serious, contemplative sound,
before shifting yet again. What is Backhaus getting at? I for one
must listen again to try to figure it out. It is a remarkable
recording.
8. So now comes the Pathetique. I figured Backhaus would go for fast,
vital, and pointed approach. Nope. The piece actually opens softly,
with some weaker than expected chords and slower than expected
runs. But an anticipatory, subdued nervous feeling makes itself
known and persists. Backhaus slowly and carefully builds up
tension, but he never releases it, rather choosing to let it abate
but never disappear. The cumulative effect is engrossing. One waits
to hear what happens next. The second movement never really goes
too slow or too deep, but rather focuses on maintaining that
subdued and unreleased tension. The finale offers more of the same,
and Backhaus just never lets loose like he obviously can. Its a bit
maddening, really, and Backhaus is obviously playing it a bit safe,
a bit comfortable. But for the life of me, it works! Indeed, I can
think of few recordings I like a lot more.
9-10. I came upon the Op 14 sonatas ready for glossed over recordings
acting as a bridge to the bigger works to come. Backhaus style
seems better suited to bigger, more serious works. Or so I thought.
These recordings are quite possibly the greatest Ive heard of these
two works. The first sonata opens familiarly: its just a smidgeon
slower than I usually prefer, but then turns fast, then slow, then
fast again, then slow again, all seamlessly and effortlessly. Its
relaxed. Its cheery. Its spiffy. The second movement is just about
perfect: its perfectly paced with perfect dynamics and perfect
tone. Its light and refreshing and amazing. The final movement is,
well, its friggin perfect. Marvelous, articulate fingerwork and
perfect weight (not too much) combined with a free and flexible
style out of a past age all combine to make it perfect. The second
sonata isnt quite played to the same level of perfection, but its
close. The slightly cutting sound cannot mask the marvelously light
and flexible playing of the first movement. Despite a bit of
brittleness, the second movement is just peachy: light, charming,
and tender, it captivates with each wonderful note. To finish off
the work is a plucky n ducky and effortless final movement, with
Backhaus deploying his rubato subtly and discreetly and most
effectively. These two recordings offer some serious fun. Amazing.
Even in the first ten sonatas it is clear that this is Beethoven
playing on an altogether higher level than most pianists ever
achieve. When I consider the two excellent cycles I just finished,
Lucchesini and Lipkin, they merely serve to underscore just how
good Backhaus is. I said of Lipkin that even when I disagree with
his choices, he still makes the piece work. With Backhaus, while
some playing here and there may not sound ideal at first, he makes
me realize that he is right and I a knave for even questioning his
judgment. His Beethoven sounds right and sounds, as much as I
dislike this description, natural. This is how Beethoven should
sound. Finally, Friedrich Gulda has been matched. Maybe even Annie.
I must hear more to know for sure.
Some quick words on sound. The recordings show their age. Some
distortion and breakup can be heard in places, and some upper
register notes have an unpleasant ring to them (its definitely the
recording and not the playing), but overall the sound is more than
acceptable given the age of the recordings.
11. Would Backhaus sound as impressive in the next batch? I wondered.
It took almost no time at all to hear the answer: Yes! The Op 22
sonata can be a difficult one to pull off successfully, and there
are a number of ways to do it. Backhaus finds his own way. The
opening movement is taken at a nice clip, alert and flexible, but
not too quick. The second movement is quite marvelous. Theres a
relaxed feel about it, but also a sort of less-is-more approach. It
seems stripped down, with little in the way of showiness or excess
anything. The third movement finds Backhaus really digging in,
hammering out the notes with notable strength and force, but he
never devolves into mere banging; there is sense of control and
ultimate restraint. Its quite nice. The final movement is tense and
not ideally flowing, but, in Backhaus conception, caps off yet
another fine recording.
12. The Op 26 sonata opens in glorious fashion. Backhaus playing of the
Andante theme is the epitome of direct, unaffected Beethoven
playing, with everything sounding so right that complaints are
frivolous. As the variations begin, the playing changes to a more
austere, almost hard sound, but even that works. The Scherzo is
driven, and rather charmless, but still, particularly in this work,
effective. The funeral march is very solemn and very serious, but
its not big or grand or especially funereal, nor is it effective as
a march. Yet the solemnity makes the movement. Backhaus chooses to
end this serious, almost dour interpretation with a final movement
that is harder and more serious than is usually ideal, but not
here.
13. Time for the first of the Sonatas quasi una fantasia. Would
Backhaus be fantastic or something else, something sterner?
Something sterner is the answer, at least initially. The piece
opens in a serious, almost heavy way, hardly creating a fantastic
or partially fantastic sound world, yet it sounds appealing. Then
Backhaus transitions to an almost blistering fast Allegro section.
The return to the initial theme is lighter than before and is quite
effective. The second movement starts slowly and quietly and doesnt
really break out until the end; Backhaus almost treats the movement
as one long crescendo. The Adagio is slow and somber and if its not
especially moving, it still sounds fine to me. The final part of
the work is taken as a hard, fast gallop, and though it eases up a
bit before the end, the coda is also quite fast. Backhaus plays
this work in mercurial fashion to say the least, and if it doesnt
quite scale the heights, its quite good.
14. The same cant be written about the Mondschein sonata. No, this is
one of the greatest recordings this work has ever received! The
opening movement sounds exactly like it should, exactly like I have
always hoped it would. It is dark, somber, with a sense of
melancholy, and Backhaus uses the sustain pedal just so, creating
the perfect degree of haze and blur. It sets the mood perfectly.
Perfectly! The second movement sounds brighter, and more upbeat at
least compared to the opening movement and Backhaus refrains from
too much of anything: speed, volume, expressiveness. Its all
perfectly realized. The third movement is almost perfect. Only some
slightly unclear passages and wobbly, insecure playing (as at 139
and a few other spots) mar an otherwise ideal realization of the
movement. Backhaus desynchronized left hand offers a rocking, solid
underpinning to the right, and if he never completely lets loose,
he plays with enough of all the right elements to make this one to
hear again and again.
15. The Pastorale is not quite as successful. The opening has odd,
stilted left hand playing that seems out of place, though Backhaus
quickly gains a more solid footing, as it were. Even so, the
opening movement never really flows. Between the 2 and 3 or so
mark, the piece takes on an unusually tense sound, though it
reverts back to a more standard conception. The Andante sounds
relatively standard in conception, and is delivered extremely well,
though even here there are tense, terse moments that seem a bit out
of place. The Scherzo, though, is quick and bubbly and eminently
enjoyable. The final movement is quick and charming, with Backhaus
happily dashing off the notes. To an extent it reminds me of
Giesekings approach to Beethoven, though the tone and style is
still uniquely Backhaus. Overall, this is a good reading, but its
not one of the highlights of the cycle.
16. So now its time for the critical Op 31 sonatas. Ive had his stereo
take of the Tempest for a while, and I love that one, so I had very
high hopes for that one going in, but what about the others? Well,
the first sonata satisfies, thats for sure. The quick, alert, and
generally light playing of the opening more than offsets the
occasional opacity and stiffness of the playing. The mood is right,
and thats what matters most. The second movement is playful, with
Backhaus injecting unique little touches everywhere. He opens most
of the trills at a moderate pace only to speed up to just the right
tempo in a smooth, effortless way. Backhaus agility and clarity
here are really superb, as is amply demonstrated in the remarkably
fast middle section. Perhaps some may find it a bit rushed, but
damn, its fun! The concluding Rondo offers more of the same, and
even if its not technically the most secure recording Ive heard,
the unyielding forward momentum makes it one of the most enjoyable.
So, one winner out of one.
17. The Tempest makes it two. The work opens in slow, dark, and
mysterious fashion, and maintains these qualities pretty much
throughout. As a result, this becomes an almost grim reading, with
Backhaus opting to not play the dynamic contrasts in a flashy way,
but rather in a downtrodden, moody way, making the piece alter
between despair and agony. Uplifting it may not be, but it is quite
effective. The Adagio is a bit mannered and overly controlled, but
in the context of this recording it sounds right. The final
movement is sharp, pointed, urgent, and a bit unyielding. Yes, this
is a dark conception of the work, and if I still prefer his stereo
remake a bit more, this is unquestionably a fine reading.
18. The final sonata of the trio makes it three! Fast, vital, and a bit
rough at times, Backhaus just burns right through the opener. Gruff
humor abounds, and it sounds just peachy. The Scherzo keeps up this
feeling. Maybe the Menuetto is a bit stiff, but Backhaus uses
perfect tempi, a perfect tone, and creates the perfect feeling. The
same holds true for the conclusion. Overall, the forward momentum
interrupted by basically cheery and rough outbursts evokes just the
feeling I like.
So, Backhaus nails the critical three, and otherwise does an
admirable or (far) better job on every other sonata in the eight
sonatas in this batch. As with the opening group of ten sonatas,
everything sounds so right, so natural that I cant resist. This is
indeed Beethoven playing of the highest order.
19-20. Moving along to the Op 49 sonatas finds Backhaus in fine form, and
shows that he can do extremely well in small, less grand fare. The
first of the sonatas is just fine: its not too heavy, and though
Backhaus definitely favors quick tempi, he still displays a nicely
variable touch and never ticks over into overbearing intensity.
Better is the second sonata. The opening movement is superb, and
continues along the same lines as the first sonata. But the reason
to hear this recording is unquestionably the second movement. Light
n tight n fun, Backhaus revels in the music and plays with a tender
touch. He does better than most in evoking the wonderful Septet.
Superb.
21. Now its time for some weightier fare. Counter to my expectations,
Backhaus doesnt open the Waldstein especially fast. Hes not slow,
mind you, he just doesnt rip through it. He does manage to
establish a unique and uniquely appealing brusque yet touching feel
to the opener. The second movement comes across as somber,
searching, and brooding with only some sharp, biting playing to add
variability. Its not a feel-good sound (and thats good for me).
Given the somewhat hard and dark preceding movements, Backhaus does
something nearly magical with the third: he opens in gentle, tender
fashion, then builds up the movement with physically strong and
emotionally moving playing. Indeed, the whole work seems to build
up to the end; any minor reservations I may have had here and there
in the first part of the work are washed away by the cumulative
power of the recording. I dont know, the cutting sound may even
have helped things out.
22. For the Op 54 sonata, Backhaus opts for a fast and intense
approach, or at least notably more so than many interpreters. The
opening movement is largely fast and punchy, though Backhaus does
back off in a few spots for some softer playing. The second
movement, though, is almost all fast and furious. Sometimes
Backhaus threatens to tip over into outright reckless playing, with
no regard for accuracy, but he never quite does. It creates an air
of excitement. Throw in some greater than normal low register heft,
and what one has here is some high intensity middle Beethoven. Tis
pretty good.
23. I admit to liking Backhaus stereo Appassionata and assumed I would
like this one, too. I do. But not as much. Backhaus opens up with a
hard, intense, and metallic sound, though he also sounds a bit
short of completely assured. He just wallops out the piece, though
even he cant maintain the highest level of intensity throughout.
The piano sound is colorless and cold, and that actually works
here. The Andante is well played but a bit cool, and it maintains
the same colorless, cold sound. Backhaus turns up the heat in the
second half, and things improve a bit, though the very end of the
movement ends a bit strangely. It seems more contained than a lead
in to the final movement. The final movement is intense throughout,
though the lack of the repeat detracts from the success of the
work, as is invariably the case. So, while this is an intense
reading, there is quite a bit missing, and while still good, I
still prefer the stereo remake as well as a number of others.
24-25. Now its time for a trio of sonatas where Backhaus is among the very
best interpreters, and perhaps even the best. The Op 78 and 79 and
Les Adieux from his stereo set have ranked among my very favorites
since I first heard them, so I had very high expectations here.
They were more than met. Backhaus has the Op 78 down cold.
Everything about it is perfect: its perfectly weighted (not too
heavy or ponderous) and perfectly paced (fast, but not too fast),
with a perfectly variable touch and discreet rubato and pedaling.
Its simultaneously light and serious. The same can pretty much be
said about the Op 79 sonata. Backhaus opens in ideal fashion fast,
strong, and articulate but never cutting. The forward momentum he
generates means that Backhaus may burn through the humorous off-key
portion near the end, but any complaints are so minor as to be
piffle. The second movement is surprisingly somber and weighty and
attractive, serving to add heft to the piece. Tis sublime. And in
the final movement, Backhaus again pulls off the trick of being
simultaneously serious and light. He is amazing in these works.
[The stereo remake of No. 25 is esp. great.]
26. Ditto the 81a. The work opens in a nicely disconsolate,
contemplative fashion. To heighten this effect, Backhaus chooses to
hold back on the first crescendo he doesnt want to give away
anything too early. The restraint adds a nice bittersweet feel to
the movement. The second movement starts off in a sad, ruminative,
and surprisingly aloof and cold way. The end of the movement builds
up with expectation for the friends return, and when it happens,
the third movement is exultant and thrilling, with more of Backhaus
fast and strong playing and what sounds to be genuine happiness. He
knocks this one out of the park.
Another eight sonatas down, and, if anything, my opinion of Mr
Backhaus has only improved. What will the late sonatas bring?
[Now for the late sonatas, I sharply disagree with the assessments here
and regard Backhaus's performances as among the great glories of the set
and of any set. It is true that they do not grab you immediately, but it
can take repeated playing to get into his specific style. After one grasps
that style, one can see it fully at work in the late sonatas. It's just
that it is not apparent at once. The stereo remake of No. 31 is especially
good, as I noticed with Nos. 4 and 25. Happily, the three comprised, in
its original issue on London, a single disk. Try to find it and then
you'll try to find the entire set!]
28. Time for the late sonatas. Surely, given the quality of the cycle
thus far, Backhaus should be irreproachable in the late works. It
aint so. That doesnt seem evident with the Op 90 sonata, though.
This one shows those Backhaus traits that so often inform the
earlier sonatas: he prefers swift tempi overall; he plays in a less
than ideally lyrical way; he plays with fine articulation and
strength; he makes the music exciting. Yep, thats some good stuff.
The second movement does sound more lyrical and offers a more
variegated color palette, though even here Backhaus brings some
incisive playing in a few places where many dont. While not one of
my top choices, this is excellent.
29. The same holds true for the Op 101 sonata. The opening is again
fast and a bit ungraceful. It doesnt really stir ones soul or
imagination, though; its not especially deep. The second movement
continues in the very good but not ideal vein with a nice if clunky
march. The third movement, though, shows the first hints of what
plagues some of the later sonatas there is an ascetic, stripped
down, rather cold feeling to the music making. Its neither
intellectually or emotionally enriching enough; Backhaus gives the
impression of merely spinning notes at times. The work improves
with a quick, peculiarly upbeat final movement possessing the
energy of some earlier sonatas, the slow coda notwithstanding. This
is a good rendition of the work, but theres something missing.
That isnt as much a problem with the Hammerklavier. I came to this
recording with extremely high expectations. Ive read and heard
praise for this, with claims that it is among the best recordings
of this work perhaps even the best. I cant say that Im that
enthusiastic about it. The problem comes in the first two
movements. Backhaus takes tempi slower than I tend to favor. (He
dont use no whipcrack, Gulda-like approach.) And while hes not a
slouch technically, he lacks the ideal degree of mastery of the
piece. Hes certainly no Pollini. But even ignoring other pianists
something essentially impossible to do it seems too stiff and
contrived at times. Yes, he does imbue the movements with some
genuine excitement at times, and he speeds up appreciably in some
sections, but its not quite what Id hoped for. The Adagio, on the
other hand, is quite simply one of the greatest Ive heard. I admit
that this movement can sound a bit too long in some recordings, but
Backhaus nearly suspends time and plays with a desolate and
searching feeling and creates a sense of inevitability, if you
will; everything that he plays can sound that way and only that
way. It is amazing. Scarcely less impressive is the finale. The
Largo is nice if perhaps a bit impatient Backhaus evidently wants
at that fugue. When he gets there he delivers. It is relentlessly
driven and possessed of a, well, possessed intensity and
seriousness that not even patches of less than perfect clarity can
mar. Yessir, this heres a good final movement. But, as with all of
Ludwig vans sonatas, one must consider the whole, and there
Backhaus does fall short of the very best.
[The comments on the last three are disappointingly brief.]
30. The real problems with the late sonatas are to be found in the last
three. The Op 109 encompasses most of what is wrong with them. He
plays too quickly and the work sounds downright disjointed at
times. His phrasing can be odd. At times he plays with seeming
disdain for whats written. Very little if anything can be called
beautiful. (In this work, only the first variation in the final
movement falls into that category.) There is not much if anything
that can be called transcendent or spiritual or philosophical here.
31-32. In the Op 110 a feeling that Backhaus just doesnt connect with the
piece enters into the picture. In the last sonata he adds a glossed
over feeling. Everything is basically too fast and not strongly
characterized; the opening never sounds ominous or especially dark,
the Arietta is ascetic and almost unpleasant. Yet. Yet these
sonatas arent disasters. Theres no doubt that they arent top
contenders, but they do work as dismissive, almost disdainful
alternative approaches. I just cant see myself spinning them too
often.
Even with the relatively disappointing late sonatas especially the
last three Backhaus mono cycle must be considered one of the
greats. So much of what he does sounds so right that its hard to
find serious fault with his playing. Gripes are mostly minor;
praise is largely unnecessary. This is a monumental cycle and one
that wish I would have heard earlier. Better late than never, I
guess.