Beethoven, L. Van: Piano Works (Complete), Vol. 2 - Sonatas Nos. 1-3, 19, 20

Chronique

After working his way through Haydn and Mozart's Piano Sonatas, fortepianist Ronald Brautigam was apparently all set to take on Beethoven's Piano Sonatas. Unfortunately, Mozart and Haydn aren't Beethoven and while a light touch, a ready wit, and a keen sensitivity are wonderful things in Haydn and Mozart, they will get you only so far in Beethoven. Because while works like the "Appassionata" or the "Waldstein" sonatas require a light touch, a ready wit, and a keen sensitivity, they also demand power, passion, and a concept of music as a sort of transcendental gospel that was entirely different from Haydn and Mozart. Fortunately, the works on this second disc of Brautigam's series are Beethoven's earliest and his easiest sonatas, and it could be argued that they rarely require much more than Haydn or Mozart in terms of power and passion. And if one accepts that argument, Brautigam's performances here are more than acceptable. But while the nimbleness of his C major Sonata, Op. 10/3, and the gracefulness of his G major Sonata, Op. 49/2, are surely appropriate, the lightheartedness of his Sonata in F minor Op. 2/1, and especially the shallowness of the Largo appassionato from his A major Sonata, Op. No. 2, is less appropriate. For some listeners, Brautigam's Beethoven will be a viable alternative to Backhaus or Fischer. For others, Brautigam's Beethoven will be simply wrong.
BIS' super audio recording captures all the nuances of Brautigam's fortepiano in an overly distant acoustic. But again, while for some listeners a fortepiano Beethoven will be a viable alternative to the modern concert grand, for others a fortepiano Beethoven will be simply wrong.

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