# Beethoven 'Hammerklevier' Sonata



## DavidA

Beethoven's Sonata 29 was somewhat misnamed Hammerklavier as the composer apparently thought the piano had been invented in Germany not Italy. But the title suites this epic work - surely the most difficult of Beethoven's. Just heard Ogden's epic traversal (below) and wonder what other great performances you have on your shelves


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## Mandryka

DavidA said:


> Beethoven's Sonata 29 was somewhat misnamed Hammerklavier as the composer apparently thought the piano had been invented in Germany not Italy. But the title suites this epic work - surely the most difficult of Beethoven's. Just heard Ogden's epic traversal (below) and wonder what other great performances you have on your shelves
> 
> View attachment 141009


I thought that was very disappointing, so I would think twice about calling it « great » if I were you.


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## Bulldog

I've always though Pollini's version thoroughly rewarding.


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## philoctetes

Saw Yuja Wang play it live, using her light touch to some advantage.

Though it's a favorite, I don't have a go-to recording for this one, but Glenn Gould and Maria Yudina are two sleepers well worth hearing. Serkin could be better but I hear the pedals too much.


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## starthrower

I've got three Glenn Gould Beethoven sets including the Sonatas box and no Hammerklavier. WTF? And Sony stuck no.24 on the Bagatelles, and Variations 2 CD. Is it a live recording?


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## philoctetes

starthrower said:


> I've got three Glenn Gould Beethoven sets including the Sonatas box and no Hammerklavier. WTF? And Sony stuck no.24 on the Bagatelles, and Variations 2 CD. Is it a live recording?


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## Guest

Bulldog said:


> I've always though Pollini's version thoroughly rewarding.


I have a version by Pollini but I always find his playing rather granitic and cold.


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## Guest

Stephen Kovacevich gives a fine account from the 1970s and I prefer it to the Richter and Brendel versions I have.


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## DavidA

Mandryka said:


> I thought that was very disappointing, so I would think twice about calling it « great » if I were you.


Interesting how opinions differ. But you state no reason to call it disappointing?


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## DavidA

starthrower said:


> I've got three Glenn Gould Beethoven sets including the Sonatas box and no Hammerklavier. WTF? And Sony stuck no.24 on the Bagatelles, and Variations 2 CD. Is it a live recording?


When he made in the studio for radio


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## Mandryka

All night I've been racking my brains for something - I heard an op 106 recently and I thought it seemed full of poetic ideas. And over breakfast this morning I suddenly remembered the name of the pianist - Peter Rösel


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## Enthusiast

I know many recordings that are really great - and mostly widely acknowledged as such (Richter's Prague recording as well as his BBC one, Annie Fischer, Kovacevich, Gilels, Kempff etc etc - but think it worthwhile to mention one of them: Brautigam's, as well as being a really good account, provides proof that the towering work can sound just great on a forte piano.


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## CnC Bartok

Pollini is a good choice here. I have his complete cycle, and to be honest, the later Sonatas are much better than the rest of the set.

I'd put a small handful above Pollini, though, in the Hammerklavier. Gilels is probably the best out there, closely followed by Solomon, Lill, and Paul Lewis, who I think is quite special overall. Oh, and I forgot Claudio Arrau!


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## Guest

Sokolov has recorded the "Hammerklavier" and it's available on CD taken from a concert performance. Here's the 1st and 4th movements of it; see what you think (and compare it to his 1975 performance, available on U-Tube).

The 1st seems a little slow:






You decide about the 4th:


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## Josquin13

Here are the best performances of the Hammerklavier Sonata that I've heard over the decades,

1. Sviatoslav Richter from his "Hammerklavier" year in 1975--which was the only time during Richter's career that he played this sonata. My #1 & #2 (& possibly third) top picks are Richter in his live recitals from London and Prague that year--along with the Aldeburgh Festival, and in that order; although I can change my mind about which is the better performance between the London & Prague recitals. What separates Richter from most other pianists is his slow movement, which is more intensely concentrated, emotional, & profound than the majority of pianists are able to realize, and the fact that he can pull off the fugal movement so brilliantly, without turning it into an unwieldy mess. In the London recital, he even repeated the fugal movement--which he once likened to the construction of Noah's ark--as his sole encore:

London, June 18th, 1975 (released on the Stradivarius & ICA labels):





Richter's encore that night:





Prague, 1975 (released by the Praga label, both on CD & hybrid SACD): 




The Aldeburgh Festival performance taped on June 1st, 1975 is worth hearing, too (released by BBC Legends): 



.

And then,

2. Annie Fischer, on Hungarotron: Fischer is likewise great in this sonata!:
Hungaroton, 1977-78: 




3. Solomon, on EMI References (or Testament)--another great performance: 




4. Beveridge Webster (amazingly, Webster is actually slightly faster than Beethoven's metronome markings in the first movement): 



.

5. Emil Gilels, (1) live from the Moscow conservatory in 1984--Gilels' last concert before his untimely death, released by Melodiya, and (2) his DG studio account (though I prefer Gilels' live Moscow account for its more deeply spiritual slow movement, and his slightly more brisk and energized opening 1st movement):

Moscow Conservatory: 



DG: 




What these pianists all have in common is that they don't disfigure the opening of the 1st movement by totally ignoring Beethoven's metronome marking, but at least try to play it more quickly & energetically, even if they don't go quite as fast his marking. This is in contrast to a pianist like Wilhelm Kempff, who begins the movement much too slowly in regards to the tempo that Beethoven has asked for, indeed Kempff's opening sounds clunky in comparison: 



. The same is true for Rudolf Serkin's 1st movement, despite that Serkin is usually one of my favorite Beethoven pianists: 



. While Claudio Arrau, who normally takes greater pains with the score than most pianists, is similarly disappointing for the entire 1st movement, which he makes altogether too clunky: 



. The fact that Beethoven left metronome markings for this sonata--the only time that he did so in his 32 Piano Sonatas--shows that he was particularly concerned that pianists play the sonata as he had envisioned it. Obviously, he knew that many pianists would find the opening too difficult to play at his desired tempo and would be tempted to slow down more than he wished. (He may have even knowingly set the tempo slightly too fast, thinking that if the pianist got close, all would be well.)

For the curious, here is the 1st movement played at Beethoven's metronome marking (a slower performance that has been sped up to match the marking): 



.

& here is Andras Schiff's excellent lecture on the subject (although unfortunately, the YT video clip is now being blocked here in the states): 




Maurizio Pollini, Alfred Brendel 2, & Vladimir Ashkenazy 1 are all good in this sonata, too (except for Ashkenazy's 2nd digital recording for Decca, which I wouldn't recommend--as it struck me as 'a walk through' compared to his earlier recordings), but none of them are as intensely emotional and profound in the slow movement as Richter, Solomon, Annie Fischer, etc..

Here, too, are three Hammerklaviers that I've liked more recently; though not in preference to my above recommendations, except if you want to hear modern sound engineering (with Gilels on DG excepted, since that is an excellent digital recording):

--Ronald Brautigam (period piano): Brautigam is especially worth hearing for his illuminating fugal movement, since the movement arguably works better when played on a period piano (being less unwieldy & overly resonant as it is on a modern grand):





--Michael Korstick: They didn't call Michael Korstick "Dr. Beethoven" at Juilliard for nothing. He plays the opening of the first movement with the appropriate briskness & high energy, and makes it work: 



. He also pulls off the difficult fugal movement about as cleanly as can be done on a modern grand: 



. I also like the deep inwardness and delicacy of his slow movement: 



.

--Igor Levit: Levit brings a Baroque-like sensibility and touch to Beethoven's late piano sonatas & Hammerklavier, and like Korstick he plays the fugal movement cleanly & impressively: 




Although I prefer Beethoven's final three piano sonatas myself--nos. 30, 31, & 32--as a triptych (and in these sonatas I'd most recommend Rudolf Serkin in nos. 30 & 31 in his 'unreleased' studio recordings, on Sony--chosen by his late son, Peter, for publication; along with Youra Guller, Sviatoslav Richter, Solomon, Annie Fischer, and Emil Gilels' final studio recording on DG, and for the last sonata, no. 32, Op. 111, I'd recommend Arturo Benedetti Michelangeli, Sviatoslav Richter, Youra Guller, and Rudolf Serkin. (Ivo Pogorelich can be very interesting in Op. 111, too: 



, though at times he strikes the keys a bit too heavily & gruffly for my tastes.) Again, Andras Schiff's lectures on Beethoven's final three sonatas on You Tube are worthwhile & brilliant).

--Rudolf Serkin, nos. 30 & 31 (& 32): 
https://www.amazon.com/Serkin-Unrel...unreleased+sony&qid=1596908222&s=music&sr=1-1




--Youra Guller--no. 31, Op. 110 (& 32): 








--Annie Fischer, no. 30: 



--Solomon, no. 30: 



--Emil Gilels, no. 30: 



--Sviatoslav Richter:












--Arturo Benedetti Michelangeli:


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## starthrower

Thanks, Josquin! Your posts are always like a mini PhD presentation.


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## DavidA

I remember hearing Richter perform the work in London on a broadcast and envying my relatives who were actually there. I was astounded when he repeated the last movement as an encore! Only Richter would do that! I have the performance on disc but sadly they did not include the encore.


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## starthrower

Deleted..........


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## Guest

starthrower said:


> Thanks, Josquin! Your posts are always like a mini PhD presentation.


Ditto. Thanks so much for your contribution and insights.

I don't like the opening movement of the "Hammerklavier" too fast, thinking it loses quite a lot at the pace of that speed-enhanced recording Josquin provided. It becomes too glib. What can Beethoven have been thinking? There are intricate inner parts which just fly by at speed and we miss much of the beauty of the thing.


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## MarkW

I tend to judge Hammerklaviers by the slow movement. Rosen first made it sing for me. Solomon didn't sound like he trusted it. On youtube Rzewski has a typically ferocious performance that also includes cadenzas in each movement!


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## Russell Chee

There's a very recent recording by Perahia on DG - I find it to be excellent. He takes the slow movement pretty briskly (it comes in around 16 minutes) but his tone is something to marvel at. I find it approaches the kind of roundness and even soulfulness of Edwin Fischer. I greatly admire Pollini in the outer movements, but his playing of the slow movement sounds a little too robotic for comfort; I enjoy Gilels immensely but I know that some will find his opening movement and scherzo just too slow and robbed of its character (I personally don't, but I could understand why one might feel that way) - though the intensity in the slow movement is stunning. Honestly better than Richter, for me. Perahia kind of represents the best of both worlds - motoric outer movements, utter clarity in the fugue (yet it's never only for the sake of virtuosity - there's always a clear musicality in his playing) and a seriously gorgeous Adagio sostenuto, the kind of track that makes one want to sit in utter silence and simply listen to the playing - it's a very recent recording, but I'm tempted to say it'll be my desert island one for a while!


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## DavidA

Christabel said:


> Ditto. Thanks so much for your contribution and insights.
> 
> I don't like the opening movement of the "Hammerklavier" too fast, thinking it loses quite a lot at the pace of that speed-enhanced recording Josquin provided. It becomes too glib. What can Beethoven have been thinking? There are intricate inner parts which just fly by at speed and we miss much of the beauty of the thing.


I think the point that Charles Rosen makes is that Beethoven anted the first movement to be rhythmic with momentum not grand. That is why he said the fast metronome speed. I think is the spirit of the marking rather than the actual tempo that is important. Mind you Kempff makes a very good case for his much slower tempo.


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## Guest

DavidA said:


> I think the point that Charles Rosen makes is that Beethoven anted the first movement to be rhythmic with momentum not grand. That is why he said the fast metronome speed. I think is the spirit of the marking rather than the actual tempo that is important. Mind you Kempff makes a very good case for his much slower tempo.


I find that interesting that 'not grand' is the quality desired in the first movement of a very long work with 4 movements, two of which are complex and discursive.

I'll have a look at "*The Classical Style*" as it's on my bookshelf.


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## millionrainbows

I'm listening to Galina Sandovskaya (Audiophile Classics).










Even the Glenn Gould "big box" doesn't have the Hammerklavier, because he didn't record it for Columbia. It's only a CBC broadcast recording, in mono.

I have yet to understand why this sprawling, unfocussed work is held in such esteem, except for its technical difficulty. I mean, it's got its moments, but it's so friggin' long.


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## Russell Chee

millionrainbows said:


> I'm listening to Galina Sandovskaya (Audiophile Classics).
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Even the Glenn Gould "big box" doesn't have the Hammerklavier, because he didn't record it for Columbia. It's only a CBC broadcast recording, in mono.
> 
> I have yet to understand why this sprawling, unfocussed work is held in such esteem, except for its technical difficulty. I mean, it's got its moments, but it's so friggin' long.


I think it just has a reputation for technical difficulty, but one that has consistently attracted the greatest interpreters. The impossibly fast opening movement, the literally throwaway scherzo movement, the sublime slow movement (personally, the greatest Hammerklavier performances must be those that move you. This is one of the most astounding pieces of music Beethoven, and anyone, ever wrote - comparable to the Adagio of the Ninth Symphony, or the Heiliger Dankgesang in String Quartet 15 - anyone who says Beethoven couldn't write beautiful music must hear these) and the fugal finale. Now I'm not the biggest fan of Bach - so I don't think I fully get the 'hype' around fugal music.

Have you never warmed to the slow movement?


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## millionrainbows

Russell Chee said:


> Have you never warmed to the slow movement?


Not really, I mean "sort of." I hear the endearing themes, but I view these as no different than anything else he did.


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## Russell Chee

millionrainbows said:


> Not really, I mean "sort of." I hear the endearing themes, but I view these as no different than anything else he did.


Ah, I see. I mean I probably get you - these slow movements used to do absolutely nothing for me also (when listening to the Ninth, I'd just skip over the slow movement!) - hopefully time will also do the trick for you


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## premont

millionrainbows said:


> I'm listening to Galina Sandovskaya (Audiophile Classics).


I think this young Russian girl played the piece very beautifully, but also a bit anonymously. I would like to hear her play the piece to day. The actual recording may be about twenty years old.


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## Bulldog

millionrainbows said:


> I'm listening to Galina Sandovskaya (Audiophile Classics).
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Even the Glenn Gould "big box" doesn't have the Hammerklavier, because he didn't record it for Columbia. It's only a CBC broadcast recording, in mono.
> 
> I have yet to understand why this sprawling, unfocussed work is held in such esteem, except for its technical difficulty. I mean, it's got its moments, but it's so friggin' long.


Sorry to hear that your ADD is acting up. :lol:


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## millionrainbows

Bulldog said:


> Sorry to hear that your ADD is acting up. :lol:


At first, I thought you were talking about my CD player. :lol:

I'll let you get back to your Wagner, now.


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## Guest

DavidA said:


> I remember hearing Richter perform the work in London on a broadcast and envying my relatives who were actually there. I was astounded when he repeated the last movement as an encore! Only Richter would do that! I have the performance on disc but sadly they did not include the encore.


Richter normally only played an encore if he weren't happy with the way he played during the concert. I imagine he felt he could do a better job with the fugue, so he repeated it.


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## Barbebleu

Just finished listening to the Gould. I’m a big fan of Gould but in this instance I’m not so sure. It just doesn’t sound convincing. Extreme uses of accelerando and rallentando make this a difficult listening experience. I think I’ll go and listen to someone less challenging.


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## DavidA

Fugal said:


> Richter normally only played an encore if he weren't happy with the way he played during the concert. I imagine he felt he could do a better job with the fugue, so he repeated it.


Yes one reviewer said that at the time.


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## Caroline

Josquin13 said:


> Here are the best performances of the Hammerklavier Sonata that I've heard over the decades,
> 
> 1. Sviatoslav Richter from his "Hammerklavier" year in 1975--which was the only time during Richter's career that he played this sonata. My #1 & #2 (& possibly third) top picks are Richter in his live recitals from London and Prague that year--along with the Aldeburgh Festival, and in that order; although I can change my mind about which is the better performance between the London & Prague recitals. What separates Richter from most other pianists is his slow movement, which is more intensely concentrated, emotional, & profound than the majority of pianists are able to realize, and the fact that he can pull off the fugal movement so brilliantly, without turning it into an unwieldy mess. In the London recital, he even repeated the fugal movement--which he once likened to the construction of Noah's ark--as his sole encore:
> 
> London, June 18th, 1975 (released on the Stradivarius & ICA labels):
> 
> 
> 
> 
> 
> Richter's encore that night:
> 
> 
> 
> 
> 
> Prague, 1975 (released by the Praga label, both on CD & hybrid SACD):
> 
> 
> 
> 
> The Aldeburgh Festival performance taped on June 1st, 1975 is worth hearing, too (released by BBC Legends):
> 
> 
> 
> .
> 
> And then,
> 
> 2. Annie Fischer, on Hungarotron: Fischer is likewise great in this sonata!:
> Hungaroton, 1977-78:
> 
> 
> 
> 
> 3. Solomon, on EMI References (or Testament)--another great performance:
> 
> 
> 
> 
> 4. Beveridge Webster (amazingly, Webster is actually slightly faster than Beethoven's metronome markings in the first movement):
> 
> 
> 
> .
> 
> 5. Emil Gilels, (1) live from the Moscow conservatory in 1984--Gilels' last concert before his untimely death, released by Melodiya, and (2) his DG studio account (though I prefer Gilels' live Moscow account for its more deeply spiritual slow movement, and his slightly more brisk and energized opening 1st movement):
> 
> Moscow Conservatory:
> 
> 
> 
> DG:
> 
> 
> 
> 
> What these pianists all have in common is that they don't disfigure the opening of the 1st movement by totally ignoring Beethoven's metronome marking, but at least try to play it more quickly & energetically, even if they don't go quite as fast his marking. This is in contrast to a pianist like Wilhelm Kempff, who begins the movement much too slowly in regards to the tempo that Beethoven has asked for, indeed Kempff's opening sounds clunky in comparison:
> 
> 
> 
> . The same is true for Rudolf Serkin's 1st movement, despite that Serkin is usually one of my favorite Beethoven pianists:
> 
> 
> 
> . While Claudio Arrau, who normally takes greater pains with the score than most pianists, is similarly disappointing for the entire 1st movement, which he makes altogether too clunky:
> 
> 
> 
> . The fact that Beethoven left metronome markings for this sonata--the only time that he did so in his 32 Piano Sonatas--shows that he was particularly concerned that pianists play the sonata as he had envisioned it. Obviously, he knew that many pianists would find the opening too difficult to play at his desired tempo and would be tempted to slow down more than he wished. (He may have even knowingly set the tempo slightly too fast, thinking that if the pianist got close, all would be well.)
> 
> For the curious, here is the 1st movement played at Beethoven's metronome marking (a slower performance that has been sped up to match the marking):
> 
> 
> 
> .
> 
> & here is Andras Schiff's excellent lecture on the subject (although unfortunately, the YT video clip is now being blocked here in the states):
> 
> 
> 
> 
> Maurizio Pollini, Alfred Brendel 2, & Vladimir Ashkenazy 1 are all good in this sonata, too (except for Ashkenazy's 2nd digital recording for Decca, which I wouldn't recommend--as it struck me as 'a walk through' compared to his earlier recordings), but none of them are as intensely emotional and profound in the slow movement as Richter, Solomon, Annie Fischer, etc..
> 
> Here, too, are three Hammerklaviers that I've liked more recently; though not in preference to my above recommendations, except if you want to hear modern sound engineering (with Gilels on DG excepted, since that is an excellent digital recording):
> 
> --Ronald Brautigam (period piano): Brautigam is especially worth hearing for his illuminating fugal movement, since the movement arguably works better when played on a period piano (being less unwieldy & overly resonant as it is on a modern grand):
> 
> 
> 
> 
> 
> --Michael Korstick: They didn't call Michael Korstick "Dr. Beethoven" at Juilliard for nothing. He plays the opening of the first movement with the appropriate briskness & high energy, and makes it work:
> 
> 
> 
> . He also pulls off the difficult fugal movement about as cleanly as can be done on a modern grand:
> 
> 
> 
> . I also like the deep inwardness and delicacy of his slow movement:
> 
> 
> 
> .
> 
> --Igor Levit: Levit brings a Baroque-like sensibility and touch to Beethoven's late piano sonatas & Hammerklavier, and like Korstick he plays the fugal movement cleanly & impressively:
> 
> 
> 
> 
> Although I prefer Beethoven's final three piano sonatas myself--nos. 30, 31, & 32--as a triptych (and in these sonatas I'd most recommend Rudolf Serkin in nos. 30 & 31 in his 'unreleased' studio recordings, on Sony--chosen by his late son, Peter, for publication; along with Youra Guller, Sviatoslav Richter, Solomon, Annie Fischer, and Emil Gilels' final studio recording on DG, and for the last sonata, no. 32, Op. 111, I'd recommend Arturo Benedetti Michelangeli, Sviatoslav Richter, Youra Guller, and Rudolf Serkin. (Ivo Pogorelich can be very interesting in Op. 111, too:
> 
> 
> 
> , though at times he strikes the keys a bit too heavily & gruffly for my tastes.) Again, Andras Schiff's lectures on Beethoven's final three sonatas on You Tube are worthwhile & brilliant).
> 
> --Rudolf Serkin, nos. 30 & 31 (& 32):
> https://www.amazon.com/Serkin-Unrel...unreleased+sony&qid=1596908222&s=music&sr=1-1
> 
> 
> 
> 
> --Youra Guller--no. 31, Op. 110 (& 32):
> 
> 
> 
> 
> 
> 
> 
> 
> --Annie Fischer, no. 30:
> 
> 
> 
> --Solomon, no. 30:
> 
> 
> 
> --Emil Gilels, no. 30:
> 
> 
> 
> --Sviatoslav Richter:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> --Arturo Benedetti Michelangeli:


Thank you for this excellent post and the suggestion for Annie Fischer and the Andras Schiff lectures. I was unaware of the latter.

It looks like Schnabel's tempo may be the most accurate per the STAATLICHES INSTITUT FÜR MUSIKFORSCHUNG. I attached a table from their website.









It feels significantly different than interpretations by the other pianists.

Given your broad listening experience - what do you think of his performance?


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## Caroline

The above image is a little small - going to the Staats Institut website may be better...

Autograph Tempo in Beethoven's Hammerklavier Sonata


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## Caroline

"....Although I prefer Beethoven's final three piano sonatas myself--nos. 30, 31, & 32...."

You may then know of Andra Schiff performing No. 30 on youtube (recorded live in Japan in 2013 per the channel). Any ideas on where one might find a copy to purchase?


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## Pat Fairlea

Love the Hammerklavier, especially the slow movement. Favourite performance? Has to be Gilels.


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## Varick

Barbebleu said:


> Just finished listening to the Gould. I'm a big fan of Gould but in this instance I'm not so sure. It just doesn't sound convincing. Extreme uses of accelerando and rallentando make this a difficult listening experience. I think I'll go and listen to someone less challenging.


I have always felt that Gould was an idiot savant on piano. His Bach is unsurpassed IMO. I can't get enough of his Bach, but I find almost everything else he did, especially anything from the late Classical & Romantic eras, absolutely dreadful.

V


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## Guest

Varick said:


> I have always felt that Gould was an idiot savant on piano. His Bach is unsurpassed IMO. I can't get enough of his Bach, but I find almost everything else he did, especially anything from the late Classical & Romantic eras, absolutely dreadful.
> 
> V


I feel this way about all of Gould. Today we would say he had Asperger's Syndrome or some other kind of obsessive traits.


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## joen_cph

DavidA said:


> Interesting how opinions differ. But you state no reason to call it disappointing?


I don't think I've heard his Hammerklavier, but Ogdon can be a lot about hitting the keys hard at times, at the cost of poetic quality and coherence. This applies for example to some of his Liszt and Nielsen.

He promoted a lot of interesting repertoire. The best recording I've heard of his is the Busoni _Fantasia Contrappuntistica_ etc.


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## Mandryka

DavidA said:


> Interesting how opinions differ. But you state no reason to call it disappointing?


I only just saw that. Sorry if you think I was ignoring you. It's just that it was built up as being THE special recording when it was hard to find, but in fact it just turned out to be a well executed mainstream middle of the road performance, with no great new ideas, and without the sense of incandescence which characterises some of Ogden's best work. Truth is I'm not very sympathetic to the music so I'm maybe not to be trusted when it comes to Beethoven.

This is the recording I like most from him - it was transferred to CD and I can always let you have it if you want


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## musicgraph

I've listened to many versions of Hammerklavier, but still consider that one of the best I've ever heard is the one played by Viatcheslav Novikov, an Ukrainian pianist. Especially the parts 3 and 4 - they are just amazing. Link below. I really recommend it!


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## Allegro Con Brio

^Sounds like a strong, noble interpretation but just in the first 30 seconds there are fistfuls of wrong notes!


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## Guest

Allegro Con Brio said:


> ^Sounds like a strong, noble interpretation but just in the first 30 seconds there are fistfuls of wrong notes!


No kidding. They would be bad enough in a one-off live setting, but committed to a recording for repeated listenings? I'm surprised he and/or the label approved it.


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## RogerWaters

I'm surprised there is not more love for Arrau. His handling is both effortless and profound, which I imagine are hard qualities to bring together - being that 'profundity' with this sonata includes a lot of high-energy pounding away. Also, Arrau's rubato, tone and phrasing are just perfect for me.


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## NeilP

Just listened to it for the first time. I’m afraid it didn’t hit the spot for me like the trio of op. 13, 14 & 23 but I think this is one of those pieces that are better watching the performance rather than the bedtime listening that I have recently indulged in. I think the name “hammer piano “ is probably appropriate and would suit the more flamboyant performers.


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## Mandryka

There are two Arrau recordings of op 106, people who like the music seem to prefer the earlier one.


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## Guest

RogerWaters said:


> I'm surprised there is not more love for Arrau. His handling is both effortless and profound, which I imagine are hard qualities to bring together - being that 'profundity' with this sonata includes a lot of high-energy pounding away. Also, Arrau's rubato, tone and phrasing are just perfect for me.


I like Arrau's 1960s recording very much. Yes, it's a little slower than some, but I love the sense of gravitas he brings to it. I also like Pollini, Gilels, Korstick, and Sokolov, to name a few.


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## SearsPoncho

Pollini. Pollini. Pollini. It's my favorite, and I have many recordings of this mighty sonata.

Gilels for a slower, epic, Klempereresque approach. Arrau is also very good if you like the slow, grand approach.


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## Fredrikalansson

The performances that impress me and move me the most are Pollini, Gilels and Kempff. Each fuses the technical brilliance and the underlying lyricism.


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## DavidA

NeilP said:


> Just listened to it for the first time. I'm afraid it didn't hit the spot for me like the trio of op. 13, 14 & 23 but I think this is one of those pieces that are better watching the performance rather than the bedtime listening that I have recently indulged in. I think the name "hammer piano " is probably appropriate and would suit the more flamboyant performers.


Certainly the Hammerklavier is the last piece I would want to listen to before going to bed!


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## flamencosketches

Enjoying the Kempff (stereo) Hammerklavier lately. He takes the first movement much slower than any other I've heard. I believe he's on record somewhere backing the "Beethoven's metronome was broken" theory. But the last two movements of his recording are exquisite. I still love Schnabel's fiery performance and Pollini's more calculated approach, but glad to now appreciate Kempff's recording in the context of his complete sonatas cycle.


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## mparta

Missing so many!!!
The performance that first made me appreciate this was Francois-Frederic Guy's first. Magnificent, much more so than most of the above named. He made a second for his complete set of sonatas, doesn't quite have the same frisson. A French pianist who very much specializes in Beethoven and Brahms, but great Prokofiev, Liszt. Chops.
Then, in performance, I heard Yuja Wang a couple of years ago. Chops goes without saying, but her slow movement was by far, no comparison, the most beautiful I have ever heard. And the complete sense of ease with all the places where I listen for struggle made the music flow. But that slow movement I will never forget. I think it's available on Youtube or somesuch. She is a miracle and I regret the distraction she allows with the clothes, but perhaps that's a test of our shallower interests, because the playing is special. Hilarious that Lang Lang gets any attention, this woman eclipses him by many degrees.
I have the Kempff video. I just can't get into listening to it, he doesn't have the wherewithal to play the piece, perhaps by that time of his life. I don't recall the oldest of his recorded sets (from the 30s I think, maybe available at one time on Dante or another label that specializes in older recordings). He's an interesting player, if you can scrub your brain and listen in isolation there are enjoyable things, but against the background of remembered performances by really great pianists (Gilels), he pales for me.
I heard Perahia in performance and it was fine, but watching him sweat it was uncomfortable. 
Please find that early Guy recording, it is a wonder.


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## Mandryka

mparta said:


> if you can scrub your brain and listen in isolation there are enjoyable things, but against the background of remembered performances by really great pianists (Gilels), he pales for me.


IMO this is by far the most rewarding way to listen - I know it's not easy.

I have the Guy, I'm not very interested in this sort of music at the moment though, I'm afraid!


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## Guest

Mandryka said:


> IMO this is by far the most rewarding way to listen - I know it's not easy.
> 
> I have the Guy, I'm not very interested in this sort of music at the moment though, I'm afraid!
> 
> View attachment 145059


I have seen this pianist in recital in Sydney. He was pretty good, from my recollection.


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## Skakner

I like Gilels, Pollini, Brendel (90's) but most of all Kempff ('65).


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## Animal the Drummer

Christabel said:


> I have seen this pianist in recital in Sydney. He was pretty good, from my recollection.


The best recording I know of the Grieg concerto, bar none, is on a freebie from an issue of BBC Music Magazine years ago which has M.Guy as soloist.


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