Search - Wilhelm Backhaus :: BEETHOVEN: Piano Sonatas Nos. 14, "Moonlight", and 29, "Hammerklavier" (Backhaus) (1956)

Backhaus Triumphs

James K. Hanson | Hudson, New York | 12/17/2007

(5 out of 5 stars)

"This extraordinary live recital disc contains a Hammerklavier Sonata for the ages. Backhaus made only one studio recording of the piece, in mono, and did not (for whatever reason) give us a stereo version in the 1960s when he made his second, nearly complete, set of the Beethoven sonatas. (The same thing happened to Arrau, it seems, when he made his late version of Beethoven for Philips; only a couple of sonatas, among them the Hammerklavier, were not remade digitally). For my money, this version is a worthy companion to the studio version, minor finger fluffs aside.

Although I agree with the previous reviewer that this performance of Op. 106 is a mighty piece of work, I do take issue with the assertion that Backhaus's studio recordings are "dull." Please do not be misled by this common canard. The Pearl label has reissued a large number of Backhaus records from 1908 onwards that reveal a player with a gigantic technique, a beautiful method of tone production, a genuine understanding of the idioms of Romantic pianism, and a gentle, unobtrusive personal quality that I for one find quite captivating.

It's true, I think, that on the whole Backhaus became a bit stolid after WW II. I treasure and prize his post-War Decca recordings, and I certainly don't find them dull, but they are in general slower and more po-faced than much of his earlier studio work. Still and all, Backhaus was one of the finest pianists of the last century, and it simply doesn't do to dismiss his studio output as "dull". In many ways, stylistically his playing is a link to the late 19th century performance practices one hears on recordings of D'Albert (Backhaus's teacher), Lamond and Risler. Like other players of his generation, Backhaus made a certain accommodation to modernism, but unlike, say, Rubinstein, retained certain expressive devices that mark him clearly as a late 19th century virtuoso in style. In any case, there aren't very many great records of this highly demanding sonata. (The limitations of recording technology, I suppose, denied us De Pachmann's revelations about it). Op. 106 doesn't strain Backhaus technically or intellectually. Backhaus never plays through his tone. He is not a showboat, and he doesn't moon around like certain Chopin specialists of the period, but he's a master. This disc is a fine reminder to us of just how great his intellect, technique, character and musicality were."

Viva il Hammerklavier! Bravo Backhaus!

Anton Zimmerling | Moscow, Russia | 10/05/2008

(5 out of 5 stars)

"This CD is addressed two types of people - those who look for great performances of Beethoven's sonatas and those who collect CDs of Wilhelm Backhaus. I belong to both categories.

Great performances of the Hammerklavier sonata Op. 106 are rare. Here you get one of them, recorded from a live recital in Carnegie Hall on April 11, 1956. I agree with Mr. Hanson that there is no reason to detract studio recordings of Backhaus and brand them as dull: Backhaus was a very disciplined artist and reportedly liked the recording process. I also agree with Mr. Bellak that both Backhaus' approaches to Op. 106 - this one and a studio variant (1952) - are on the same high level. However, I can add that at the day of this Carnegie Hall recital Backhaus was in a good form and his playing was inspired: the engineers acted cleverly and did not remove a stormy applause after the final chords of the Hammerklavier sonata.

The Hammerklavier is a very strange sonata, and not just because of its huge dimensions. It is brusque and full of contrasts: many pianists, who adore the central slow movement, do not know what to do with the fast movements, and vice versa. Besides, it is difficult - as Glenn Gould put it, ungratefully difficult, since listeners do not feel it. Some pianists play the final movement so as if they are excusing for Beethoven who made a strange mix of reminiscences from the previous parts and a hectic fugue based on a new theme. Not Backhaus: the structure of the piece is shown so transparently and he rushes ahead with such a conviction and tremendous force that when you listen to him you realize that this sonata should be completed exactly in this way! The Sostenuto is rather fast [15'35] and does not create an atmosphere of deep depression to a degree characteristic, e.g. for Arthur Schnabel's version. For this movement I still prefer Schnabel over both Backhaus' variants, but in the fast movements Backhaus has few peers if any. A relatively fast tempo taken in the Sostenuto urges Backhaus to begin the final Allegro slightly faster than usual, which is absolutely no problem for him and sounds totally organic here.

The Moonlight sonata sounds fresh and is totally unsentimental: it is up to you whether you like this. Again, the final Presto is probably Backhaus' best achievement. The encores are fine, especially Schubert's Impromptu in B flat, though Backhaus' playing does not reach the level of his early electric recording made in 1928.

It is interesting that during this concert Backhaus resumed playing with short harmonizing before playing the first beats of a piece. The same concentration device can be heard on Joseph Hoffmann's recitals.

The booklet to this CD is very good and contains many pleasant surprises for a record collector, e.g. facsimile of autographs dedicated to Backhaus. The earliest one is from Johannes Brahms who wished the 11 yrs child prodigy `Zu froehlichem Anfgang' in 1895. The other ones are from Arthur Nikisch, Sergei Rachmaninov and Moritz Rosenthal.

Strongly recommended.

"

Live Backhaus "Hammerklavier"

Richard Bellak | 12/15/2007

(5 out of 5 stars)

"It's not difficult for me to accord this release 5 stars. Vladimir Horowitz described Wilhelm Backhaus as "a wonderful pianist" and I agree with that authoritative opinion. The Hammerklavier sonata, a Backhaus specialty, was the only Beethoven sonata that Backhaus did not record twice (in mono and stereo), so this 1956 live performance is a welcome addition to the 1952 London studio recording. It's not a matter of one performance being better than the other. Instead, differences in dynamics, tempi and emphasis make each performance a worthwhile and exciting experience in its own right. That extends to the "Moonlight" sonata as well, which Backhaus characteristically presents with such surprising fresh eloquence. The audience response appropriately acknowledges these magnificent performances."