Latest / The Piano Maven with Jed Distler / Beethoven's 32 Sonatas with 64 pianists: Op. 31 No. 3
Transcript
- 0:00This is Jed Distler and welcome to the Piano Maven, your friendly podcast guide to piano
- 0:15recordings.
- 0:17And before we start, I want to tell you that you can subscribe to this podcast through
- 0:23my sub stack page by clicking on the link in the episode description.
- 0:29And subscribers get bonuses such as Zoom meetings where we share listening experiences and listen
- 0:37to all kinds of things together.
- 0:39And we'll also have special guests who you can meet and ask questions to.
- 0:44So please consider subscribing to help us reach out further into the piano community
- 0:51and to help keep the podcast in production.
- 0:55This podcast episode is part of a little mini series, well it's actually not that little,
- 1:00but it's a mini series that I decided to do to celebrate our second season.
- 1:06So at the beginning of the year, I decided that nearly every day, at least during the
- 1:12week, leaving weekends to recover, that we would have episodes where we discuss all 32
- 1:21Beethoven sonatas and then I recommend two recordings for each sonata.
- 1:29One recording is historic or archival and then the other recording is a modern recording
- 1:34from the stereo or and digital era.
- 1:39And the challenge that I gave myself was not to repeat any pianist more than once.
- 1:46So by the end of this Beethoven mini series, we will have discussed 32 sonatas and 64 pianists
- 1:55to consider.
- 1:56I love the sonata number 18 in E flat major, opus 31, number 3.
- 2:04It's basically a sunny and outgoing work in all of the movements pretty much.
- 2:09The scherzo's use of détaché articulation reminds me so much of woodwinds.
- 2:16The minuet is one of Beethoven's loveliest and that presto confuoco finale is a wild,
- 2:24virtuoso tour de force that's always so much fun to hear, especially when you have a pianist
- 2:30who can play it up to tempo, yet also make the most musical sense out of it without derailing
- 2:38or going past the legal speed limit.
- 2:41For my archival and historic choice, I'm going to pick a live recording from 1970 by Dino
- 2:50Ciani and it comes from when he played all 32 sonatas in a series of concerts in Venice
- 2:58that were archivally recorded and eventually they were released on the dynamic label.
- 3:05He did not record all the sonatas in the studio because Dino Ciani died very young in a car
- 3:11accident in 1974.
- 3:13So many archival recordings from concerts and broadcasts were issued after his death,
- 3:20including this Beethoven cycle.
- 3:23The sound quality is very resonant and kind of swimmy, but look, we're lucky to have this
- 3:29performance.
- 3:31In the opus 31, number 3, Dino Ciani just throws himself into the outer movements with
- 3:39total abandon, taking all kinds of chances.
- 3:43It's such an exciting performance.
- 3:46For the modern recording, I want to talk about my dear friend and colleague, the composer
- 3:51and pianist Stuart Goodyear, who recorded all of the Beethoven sonatas for the Marquis
- 3:57label.
- 3:58He brings such great vitality and creative nuance to his recording of opus 31, number
- 4:063.
- 4:07He also has the ability to adjust his sound and his balances in order to underline a surprising
- 4:14modulation or an interesting sequence of counterpoint, but he does this in a way without being overtly
- 4:22obvious about it.
- 4:24I think this is one of his strongest performances in a Beethoven cycle that contains nothing
- 4:30but strong performances.
- 4:32And also what I love about Stuart Goodyear's Beethoven is that he never imitates his predecessors.
- 4:39He plays like himself while totally serving the composer, and that's nothing to sniff
- 4:46at.
- 4:47This is Jed Disler, and you've been listening to the Piano Maven, your friendly podcast
- 4:53guide to piano recordings.
- 4:56So our next Beethoven Sonata podcast will feature the two little sonatas of opus 49.
- 5:06And these are pieces that generally people don't really care about too much, but they're
- 5:11very charming early works, and this is like a little place of respite before we get to
- 5:17the big boys, so to speak, like the Waldstein and the Appassionata and going on and on and
- 5:25on.
- 5:26Anyway, take good care, and I look forward to being with you next time for the Piano
- 5:31Maven.