A couple years ago I picked up the first volume of Kun-Woo Paik’s Beethoven sonata cycle, comprising sonatas from Op 31/1 through 81a. The notes indicated that the rest of the cycle would be recorded later in 2006 and 2007. Cool, I thought, since I was still buying plenty of cycles at the time. But 2006 and then 2007 came and went with no additional volumes here in the US. I’d occasionally check MDT and Amazon, but to no avail. Then a few weeks ago I broadened by search and stumbled upon Han Books in Los Angeles. It’s a Korean bookstore that imports all manner of goodies from Korea. Among the goodies it sells are all of the remaining volumes of the cycle. Decca released the cycle in three additional 2-disc sets rather than two 3-disc sets, but there it was. (The additional volumes are also available in France I later found, though the box-set is not.)

Also there was the complete set in a nifty looking super digi-pac box more reminiscent of LP box-sets than CD box-sets. Though I had the first volume, I decided to go for the complete box because it looks so nifty and because it comes with a DVD and because the sonatas are presented chronologically and because it’s a limited, numbered edition. (Mine’s number 2229.) And it’s not too expensive – around $114 with shipping. Once I got the box it became apparent this set is for the Korean market only. The generous book (not booklet) is detailed and physically large – and all in Korean, save the French intro by the pianist. The included DVD is a low-rent affair, with blah camera work, blah image quality, and no subtitles for people who don’t speak French or Korean. But that’s irrelevant, really – it’s all about the music.

When I wrote about the first volume, I noted that I thought it was a mixed bag: Some sonatas were superbly played, some not, though Kun-Woo’s technical mastery was evident throughout, as was his emotional detachment. Opp 31/3, 57, 78, and 54 came off best, and I surmised that the pianist would fare better in the early sonatas than the late sonatas. Well, after hearing the whole cycle, it’s clear that it is a mixed bag overall, and my initial hunch was right – Kun-Woo is better in the early sonatas than the late ones.

Rather than go into detail, I’ll just cover the set in very broad strokes. The earliest sonatas generally fare well. Crisp, light, lithe playing characterizes much of the set, and some sonatas, like Op 2/3, Op 7, and the two Op 14 sonatas all benefit greatly. The pianist’s comparative detachment doesn’t detract at all here, and the generally high energy playing really sounds fine. The recorded sound doesn’t offer the last word in clarity, and Kun-Woo’s playing isn’t the clearest, most differentiated around, but it’s quite fine. Unfortunately, the meatier early works don’t fare as well. Op 10/3 comes off as too lightweight for me, with not a whole lot of drama or passion in the great slow movement. Op 13 fares better, with the briskly played opener having a bit of oomph. The last of the early sonatas (or the first of the middle, depending on how you look at), Op 22, is taken at a slightly broader tempo than I would have anticipated, but still has enough verve and variety to satisfy.

The middle sonatas find Kun-Woo doing some fine things. Op 26 is surprisingly effective, delivered in a taut, slightly cool fashion, with the Funeral March poked out in a small-ish scale but edgy enough fashion. Op 27/1 possesses enough energy and drive to satisfy, and Op 28 is lyrical, smooth, and quite charming. The middle of the middle I’ve covered in more detail, but revisiting the sonatas found me enjoying Op 31/1 a bit more, and now I must say that 31/3 is top-flight stuff. The Appasionata reminds me of an updated version of Robert Casadesus’ formidable take on the work, and Op 54 still stands as a unique take, with a blistering fast Allegretto.

The late sonatas are less satisfying. The first thing I noticed about the late sonatas, which here start with Op 90, is that the recorded sound is different – and not as good. It’s more distant, more resonant, more muffled, and more metallic. It’s still modern sound, it’s just not as good as the rest of the set. Anyway, Op 90 sounds quite nice, especially the second, proto-Schubertian movement with its flowing lyricism. Op 101 is a miss, though. It never really evokes the late-LvB sound world for me. Less satisfying yet is the mighty Hammerklavier. Though Kun-Woo definitely has the chops to play it fast, he instead plays it very slow, emphasizing the quasi-orchestral, grand nature of the music. The slow movement lacks enough gravitas, to boot. The last three sonatas improve a bit, though all lack the ultimate degree of late Beethoven gravitas. Op 111 probably fares best of all, with the pianist playing with decent drive and bite in the opener and allowing himself personal leeway in the slow movement, delivering a very fine Arietta, blurred, beautiful trills, and some nearly transcendental playing at times.

Overall, this is not a great cycle in my estimation. But it is a slightly better than above average one overall. Compared to the most recent complete cycles and some on-going ones, I’d definitely have to say he’s closer in quality to Barenboim’s superb DVD cycle than he is to Paul Lewis’ rather dull cycle, though Barenboim rather handily delivers more of everything that counts most. Kun-Woo is uneven like Andras Schiff, though he even more rarely delivers the brilliant insights that Schiff sometimes does. He’s nimbler and more individual than Ikuyo Nakamichi, though she plays rather more beautifully. (And Kun-Woo’s playing is itself rather distinguished tonally.) He lacks the seriousness and weight of Craig Sheppard, though he’s more flexible. He tinkers more with tempi and dynamics than Akiyoshi Sako, but his vision is less compelling, solid, and certain. And he definitely doesn’t aggressively present his ideas like Ronald Brautigam, and sometimes there’s less excitement as a result. Overall, this is a fine cycle, one I’m glad to have, and one I’ll return to with pleasure, but I must seek out others for more meaningful Beethoven.


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I'm still grooving heavily with Barenboim's recent live DVD cycle, which I agree is superb, and for many reasons, chief among them the extraordinary clarity of the musical architecture.

I really like the bonus master classes, too. In fact, I'd say that anyone interested in learning something about the deeper nuts and bolts of music would do well to view these. I've been playing and studying music all my life, and Barenboim has the most uncanny ability to succinctly articulate the meat of the musical matter.

All the best,
Fred

After everything I read about Barenboim's DVDs I'm anxious to hear the performances, but my problem is that I don't really get on that well with music DVDs, I'd much rather have a CD - anyone know if there are any plans for such a release? As for Paul Lewis, we'll have to disagree, I find him anything but dull (although it is true that his recordings don't quite capture the passion of his live performances).


Todd, on an slightly unrelated note, I recently picked up an interesting recording of the Beethoven concerti - Fleisher with Szell and the Cleveland Orchestra, which are very fine. Having now worked my way through it, I looked up your old emperor concerto thread, but it wasn't included. Have you heard the set, if so I'd be interested to know what you think, if not, it's well worth picking up.


regards, Tam

quote:

Originally posted by Tam:
Have you heard the set

Fleisher's cycle is on my list of ones to hear. Shouldn't be too long now.


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quote:

Originally posted by Tam:
After everything I read about Barenboim's DVDs I'm anxious to hear the performances, but my problem is that I don't really get on that well with music DVDs, I'd much rather have a CD - anyone know if there are any plans for such a release?

Just turn off the TV and listen through your audio system! Also, I'm sure it wouldn't be too hard to make a CD-R of the audio from the DVD.

In any case, I'm not aware of any plans for a CD release, and it seems to me it would obviate the premise for the DVD release. I think the visual aspect is very well produced and adds a lot to the experience.

But if you do go for the DVD, make sure you leave the TV on for the master classes.

All best,
Fred

Todd, have you by chance heard any of David Allen Wehr's Beethoven sonatas? -- he just recently completed the series for Connosieur Society--and his performances have received good notices on Musicweb. Sounds interesting.

I go tonight to Meany Hall in Seattle to hear John O'Conor in an all Beethoven program--Moonlight, Pathetique, Waldstein, and Bagatelles Op.126.

Most interesting recent cycles for me have been the Paul Lewis and the Ronald Brautigam.....

quote:

Originally posted by Oldnslow:
Todd, have you by chance heard any of David Allen Wehr's Beethoven sonatas?

Not yet - but his cycle is next on my list. When Arkiv lists all the discs, I'll buy them all. Then I have to finish off Sequeira Costa's cycle, and then only a few more currently complete cycles will be on my radar.

Enjoy the O'Conor recital. I still rather enjoy his LvB - which reminds me, I need to get his new concerto cycle.


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Enjoyed the O'Conor recital very much. He obviously brings a lifetime of experience to this music--a quite lyrical approach, with a wonderful tone. I actually enjoyed the Bagatelles best, perhaps because I didn't know them well. I might pick up the new Anderszewski recording of the Bagatelles and the Piano Concerto No.1 with the Deutsche Kammerphilharmonie, one of my favorite Beethoven orchestras at the moment.

I'm very fond of the Deutsche Kammerphilharmonie (I heard them give a thrilling reading of Beethoven's 7th symphony in one of their final concerts with their former music director Daniel Harding a couple of years ago, he also has a good disc of overtures with them on Virgin). However, I don't like Anderszewski at all. He's given a couple of concerts with the SCO this season, mainly due to his excessive thumping, but then I'm particularly picky in this regard.


regards, Tam

As in foot-thumping? Well, presumably you wouldn't get that in a recording...hehehe. I only know his Mozart concerto recordings and Diabelli variations, which are excellent. I have never seen him in a recital. I expect he gives concerts mostly in Europe.

Even S Richter was prone to occasionally thumping [feet I imagine] so that the whole piano would shake!

I had a recording of Greig's and Schumann's Pinao Concertos on an HMV LP, recorded in Monte Carlo, and the thumping was so bad I had to part with the recording, which actually contained a pair of otherwise good performances ...

It can come through on recordings.

I also used to have Anderszewski playing the French Overture [Suite] by Bach, and I thought it quite fine. Later I heard Walcha's reading!

George

A little foot thumping wouldn't bother me, as I come from a jazz background, the land of grunting pianists....in fact, Keith Jarrett's duck quacking is very annoying; even though he is a great musician, it is very distracting. With modern highly sensitive recording techniques, foot tapping, breathing and grunting, not to speak of audience coughing, can certainly intrude, but I guess that's a small price to pay if the performance is excellent.

No, I mean thumping as in the force with which he strikes the keys as contrasted with the delicacy of the likes of Kempff or Uchida. It's a slightly hard thing to describe, as for me Lewis manages to get plenty of volume without thumping.

I don't have much problem with thumping of the foot variety.

regards, Tam

Oh, I get what you mean. We've all seen that. Doesn't bother me much, assuming the piano sound and performance are good.

quote:

Originally posted by Oldnslow:
I might pick up the new Anderszewski recording of the Bagatelles and the Piano Concerto No.1 with the Deutsche Kammerphilharmonie, one of my favorite Beethoven orchestras at the moment.

Thanks for the heads up on this one - I didn't know it was out. I heard Anderszewski play the first concerto in concert a few years ago and it was superb, one of the better renditions I've heard. Now I must buy this disc. If the sound quality is like the recordings Nakamichi and Jarvi (both supporting her and as part of his cycle) have made with this band, it should be a peach of a disc.


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Todd, don't forget those two CDs of Beethoven symphonies 3, 8, 4, and 7 with Paavo Jarvi on RCA. Just great in my opinion. Doesn't even seem like the same conductor or all those lame CDs on Telarc with Cincinnati Symphony....

quote:

Originally posted by Oldnslow:
Todd, don't forget those two CDs of Beethoven symphonies 3, 8, 4, and 7 with Paavo Jarvi on RCA. Just great in my opinion.

I was referring to them as well, though I must say that the Eroica isn't really to my taste. The others are all fine. Jarvi has recorded a few good discs for Telarc - the Stravinsky discs are quite good, though some of the others are quite, well, not as good.


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I did pick up the Anderszewski Beethoven CD last night. I couldn't stop listening to the Bagetelles--excellent, terse but lyrical late Beethoven, the last piano pieces he wrote. I don't know how I missed learning these little gems, and have John O'Conor's recital to thank for turning me on to them. The concerto performance was interesting too, but I need to listen to it further to form an opinion on that.

Two other recent Eroica recordings I have enjoyed are by Thomas Dausgaard with the Swedish Chamber Orchestra(Simax) and Andrew Manze (Helsingor Symphony) on HM. I dunno, I seem to be in an Eroica mood these days. I like them both, along with the Jarvi. The Manze is a surprisingly straightforward account with a traditional orchestra. The Dausgaard much like Jarvi with a chamber orchestra.

i like brendel's bagatelles. good recordings, and cheap too, on vox.

last week i saw schiff do an installment of the beethoven sonatas at the disney hall (l.a.). saw him do another one a couple of months ago. apparently he is performing and recording the whole cycle. he was okay but i couldn't help but feel something was missing, although of course there are a lot of variables w/ live performances. for one thing, the venue is a bit large for chamber and solo works (although pretty good acoustics all things considered, the room size i think can detract from the intimacy and dynamics demanded in doing ludwig's sonatas).

wonder what anybody thinks of his beethoven. i'm not enough of a beethoven completist to have much of an opinion, although i've heard brendel do some live and am not rushing out to purchase schiff's set. i'd known schiff as a mozart specialist, maybe haydn, but didn't think he went quite so far into the romantic era. he is a wonderful pianist. in any case, i read an interview in which he states it was a "later years" thing to get into the sonatas. it is a crowded field.

quote:

Originally posted by fidelio:
wonder what anybody thinks of his beethoven.

It's a mixed bag. The second and fifth volumes are superb, the others decidedly hit and (frequently) miss. Schiff's nuanced touch often illuminates the music is a unique way (10/3, 31/1, for instance).

I'd say he's more a core rep generalist, with occasional forays into lesser works. His Smetana, Bartok (the concertos and some solo works), Scarlatti, Haydn, and Mozart are all top notch, his Schumann not far behind. Beethoven often requires more intensity than Schiff delivers.


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