Search - Beethoven, Ehlen :: Complete Piano Sonatas 2

Fresh and deeply felt

the true critic | 04/15/2010

(5 out of 5 stars)

"It is often suggested or supposed that since the "big names" have recorded the complete Beethoven sonata cycle, that there is no point in anyone else doing so, or there is no point in buying a cycle if it isn't played by one of the "big names." This is of course completely untrue, for many reasons!! First, one shouldn't assume that because so-and-so is a big name, then so-and-so necessarily understands Beethoven, or plays all the sonatas equally well (which is impossible!). Secondly, and more to the point, Beethoven's sonatas are so universal, and so complex, that they offer the possibility of continuous rediscovery. There is enough humanity in them to be an endless source of inspiration for both players and audiences.



The task for the pianist is to gently, respectfully and temporarily push all the previous great artists to the side and face Beethoven's music as if it had just been written and waiting for discovery. This seems to be the approach that Timothy Ehlen has taken. His readings are as fresh as they are personal yet (with a few exceptions here and there) are always at the service of the score and of the intent of the composer. Right from the first bars of Op. 2 No. 2 there is such a sense of spontaneity and joy in music-making, as well as direct human communication with the listener, that one can indeed temporarily forget the Brendels and O'Conors and whoever else and realize that this is a genuine and valid statement of this music. Op.2 No. 2 is an especially ingratiating and loving performance. The drama of the firt movement of the "Tempest" sonata is conveyed in a way that is not radical or "original" but nonetheless fresh and gripping. And especially gripping is the performance of the last movement. The intimacy and warmth of Op. 78 are genuine and uniquely "Ehlenian," and the two-note slurs of the 2nd movement are perfectly and wittily performed. (In many famous pianists' recordings one would hardly have known that the two-note slurs are even in the score.) The 1st movement of Op. 109 is quite good, but the 2nd movement is an absolute revelation!



This is not to say that one can't quibble with some interpretive choices. Perhaps my main qualm is the 3rd movement of Op. 109, which, though deeply felt, seems at times like he's trying a little too hard--but better that than the antiseptic routine one often hears.



So in short: this is far from middle-of-the-road conventional Beethoven. Timothy Ehlen plays with imagination, passion, wit, charm, and tremendous warmth. One comes away wanting to hear more of his interpretations."

Beethoven worth listening to

E. Hall | California | 04/14/2010

(5 out of 5 stars)

"I have heard Timothy Ehlen several times in recital on the radio, including an electrifying "Hammerklavier" Sonata from the LA County Museum of Art last year, so I'm happy to see that he has embarked on a Beethoven Sonata cycle. He is professor of Piano at the University of Illinois, and I believe he toured pretty extensively before that. Choosing to group the sonatas into recital programs, as he explains in his own liner notes, may not be the most common way (they're not in chronological order), but it makes for some interesting comparisons of Beethoven's style and his range of musical expression. The Sonata No. 2 in A Major is spritely, lively and fun, and it has comic opera effects. Ehlen brings it to life with plenty of flair, and intelligence too. There are some interesting points in the liner notes, and timings are indicated, so you know exactly what he's talking about. The Lento appassionato is unusually expansive and warm, but it still holds together well. For me, the last movement seems quite free, as opposed to driving through the structure...it's slightly on the calm side, but very elegant and `grazioso'.



The familiar "Tempest" Sonata is delivered with lots of heft and power, and the energy sustains through the driving rhythms, so it feels right. A few of his timings caught me by surprise, but it has a powerful and free energy overall. Whether I'll be more or less convinced in future hearings remains to be seen. I had never really thought of the last movement as `daemonic,' but Ehlen makes his point well; A Gregorian chant in the first movement?--score for originality, but that might be a stretch. Still, it's always nice to hear different things in the most familiar works, and Ehlen seems to be guided by a definite and personal idea that is for the most part compelling.



The beautiful Op. 78 "a Thérése" is a gem of a Sonata, and Ehlen feels it deeply, in a vocal manner that reminds me of a fine Lied singer. The subtle inflections are there in the first movement, and the second is capricious and witty. Ehlen takes a slightly more poised approach than Schnabel, who really goes crazy with it, but the control and playfulness of the 2-note groupings are impressive and appealing.



Overall, Op. 109 is a searching and contemplative performance, which seems to fit Ehlen's personality well. He really captures the vigor and tension of the second movement, and the third movement, which he likens to a Sarabande, is more probing than simple. I agree with his commentary that the movement highlights the contrast of expressions, although I wonder if he undercuts the direct impact of the piece by bending some tempos more than usual. All in all, Ehlen is worth a listen, and I'm looking forward to the release of the remaining volumes."