Beethoven, L. Van: Piano Works (Complete), Vol. 3 - Sonatas Nos. 4-7

Album review

The enhanced clarity achieved on SACD is ideally suited to capturing all of the nuances and idiosyncrasies of "period" instruments (although the fortepiano heard here is a modern reproduction). It allows listeners to actually hear the action of the instrument, its unusual sonorities and overtones compared to the modern piano, and even the occasional buzz of a string during especially forte passages. Perhaps this is more in line with what Beethoven actually heard and intended for his early piano sonatas.
Fortepianist Ronald Brautigam does a masterful job presenting the Op. 7 sonata and the three sonatas of Op. 10. He happily does not try to make the fortepiano sound like its modern cousin. As a result, what's heard here is likely quite different from what listeners may come to expect from the likes of Kempff, Brendel, or Serkin. For one, Brautigam's tempi are consistently much more brisk than most interpretations. Due to the rapid decay of the fortepiano's sound, this works quite well. Brautigam's attacks are also considerably more forceful in forte passages, but every bit as tender and thoughtful in movements like the Largo e mesto of Op. 10/3. In a nutshell, Brautigam's has obviously taken into account the instrument itself when making performance decisions and the result is a charming, energetic, and fresh look at these early works.

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