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Jean-Efflam Bavouzet - Ludwig van Beethoven: Piano Sonatas, Volume 3 (2016) 3CDs

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Jean-Efflam Bavouzet - Ludwig van Beethoven: Piano Sonatas, Volume 3 (2016) 3CDs

Jean-Efflam Bavouzet - Ludwig van Beethoven: Piano Sonatas, Volume 3 (2016) 3CDs
EAC | FLAC | Image (Cue&Log) ~ 556 Mb | Mp3 (CBR320) ~ 506 Mb | Artwork included
Genre: Classical | Label: Chandos | # CHAN 10925(3) | Time: 03:31:45

Jean-Efflam Bavouzet’s fascinating journey through Beethoven’s complete sonatas now comes to an end with this third volume. The prodigious exploration reaches its culmination in this three-disc set – sold for the price of 2 CDs as were its two predecessors – featuring the most mature and exploratory of Beethoven’s sonatas, including the heroic, two-movement ‘Appassionata’. Bavouzet’s distinguished interpretations reveal not only the technical virtuosity but also the emotional power of these contrasted works. With his characteristically fresh and energetic, yet expressive and profound approach, Bavouzet captures a Beethoven drawing the contours of romantic keyboard textures that would become the staple of the next generation. This project will also resonate on the concert platform, as a series of recitals will take it to the most significant venues around the world.

Jean-Efflam Bavouzet - Ludwig van Beethoven: Piano Sonatas, Volume 3 (2016) 3CDs

Here is the concluding instalment – Volume 3 – of Jean-Efflam Bavouzet’s chronological journey through the 32 Beethoven sonatas, a cycle which may have been matched by one or two but has not been surpassed, I would judge, in the last 30 years. Yes, it’s that good. I greatly enjoyed Volume 2 (3/14) and this is an even higher achievement. But then so is the music.

All the sonatas are here from No 22 in F, Op 54, which is the first of Beethoven’s four solo sonatas of his maturity to be conceived as two-movement works, to the last one of all, No 32 in C minor, Op 111 – which famously foxed its Viennese publisher when it arrived and made him wonder whether a third, final movement had somehow been omitted from the parcel (‘no, I didn’t have time to write one’). I love that story. The differing dualities and oppositions of Nos 24 and 27 (F sharp major, Op 78, and Op 90 in E minor) are also in this collection, so if you want to sample the quality you could make yourself a recital of these four, perhaps, and disappear, with Beethoven, into the silence at the end of Op 111, after the descent from the celestial trilling, where you feel nothing more could possibly be said in the domain of the piano sonata.

Bavouzet, in his prime, has two rare gifts as a Beethoven interpreter. He makes you feel that each sonata is not only all of a piece but that its structure and not just its surface has an audible power. Second, he conveys that what is experienced is indissolubly linked to its execution, both for the composer and for the pianist; the one illuminates the other. Before reflecting on these truths you’ll almost certainly be delighted by Bavouzet’s freshness of spirit, rigorous enquiry, openness to instinct and engagement with every aspect of this inexhaustible music. He radiates generosity and balance as well as a delight in being able to play the piano so well. You are aware of him and of the current that runs through – deriving not from his modesty, because he’s no shrinking violet, but from the force of a personality who knows that without Beethoven and the task in hand he wouldn’t be there. Just as it should be. The composer speaks and you wouldn’t mistake Bavouzet for anyone else.

The frame of sonority, colour and character in which each sonata ‘sits’ is tellingly judged. They are as individual as children. The subtleties of connection between movements in the A flat Sonata, Op 110, for example, emerge from under the player’s control of finger and perceptions of continuity. They don’t need to be flagged up but they occur as a feature in many of the sonatas and can be ruined by insensitive editing. Chandos’s production values here are as good as you would expect. There were three sessions (at Potton Hall) between the end of 2014 and the middle of 2016 but you could play through the set and take pleasure in the sound and imagine it was all set down in the course of a weekend. Bavouzet’s attention to the dynamic life of Beethoven’s sonatas is a model of what it should be: integral to the effect and character of them at any moment, never a decorative add-on. As with his control of tempo and movement, you know exactly where you are: fortissimo is not the same as forte, only perhaps a bit more, and what does a triple piano marking over the last chord of the first movement of the Appassionata Op 57 signify? When did you last hear a recording in which this registered as a degree quieter than pianissimo? Bavouzet wonders whether it’s meant to ensure that this movement, encompassing extreme violence and heart-easing gentleness, should end in complete resignation. He misses nothing and is excellent, also, on the dialectic of sound and silence.

The transparency of his playing brings treasures I would never wish to be without. He uses so little pedal but he is not dry and he can sing like a…well, one of Messiaen’s most eloquent birds, let’s say, and certainly not a French woodpecker! There is vividness even in the intricacies of the fugal finale of the Hammerklavier Sonata, Op 106 (No 29), deliberately written, as Bavouzet points out in his notes, to be extremely difficult to master. You get the feeling, with him, that you are in a rarefied region, not a thorn bush, near the limits of known territory, and yet the air is exhilarating. And what trills! Good to know that such quality is humanly possible. As it is with his execution of the six-octave upward rush in the Scherzo (disc 2, track 8). This is not a Hammerklavier Sonata that has been tamed; it is exciting enough for me. If you prefer a manner that is rougher, more explosive, that chucks fistfuls of notes around the heavens and sets the aspidistras flying, look elsewhere. I like this one because it resounds.

A small reflection: Bavouzet won first prize in the Beethoven International Piano Competition in Cologne in 1986, long before we knew anything about him in this country or had any recordings. He has been biding his time with the cycle of sonatas; no bad thing. Maybe his Haydn series, ongoing I trust, put down a marker for them.

Review by Stephen Plaistow, Gramophone Magazine

The meticulous workmanship and musical intelligence informing Jean-Efflam Bavouzet’s previous Beethoven cycle installment are equally apparent throughout this third and final volume. In contrast to numerous brisk and suavely dispatched renditions of Op. 54’s toccata-like finale, Bavouzet’s deliberation imparts an almost jazzy inner rhythm to the swirling textures and syncopated accents.

The “Appassionata” first movement stands out for Bavouzet’s firm backbone and stinging clarity. Don’t let the central movement’s genially inflected second variation fool you into thinking that the basic tempo is being markedly modified. By contrast, the finale’s Presto contains a fascinating detail I’ve heard in no other recording: Here Bavouzet makes an unwritten accelerando that enhances the big build leading into the final peroration–a bit theatrical, granted, but the effect works brilliantly.

The disarming lyricism of Op. 78’s first movement is undermined by Bavouzet’s overly intellectualized detailing, while the finale is too sedate for what ought to be a playful and brash vivace. Nor does Bavouzet’s thoughtfully articulated Op. 79 match the offhand joy and animation served up by Kempff or Schnabel, while the “Les Adieux” sonata’s outer movements don’t equal the soaring thrust of Solomon’s classic recording. However, Bavouzet’s Op. 90 is a marvel of textural organization and assiduous transitions.

The crispness and transparency Bavouzet brings to Op. 101’s challenging fugue also informs his tautly unfolding Op. 106 fugal finale. The disparate elements characterizing the introductory Largo leading into the fugue, however, seem disconnected in Bavouzet’s hands. I like Bavouzet’s leanness and poise in the first movement, but I miss the sweeping arcs and nervous energy that others bring to the music, as well as the “inspired misprint” A-sharp in the chains of broken fifths and sixths that occur just before the recapitulation (Bavouzet plays the “corrected” A-natural favored by Kempff and Brendel). The Scherzo’s minor-key Trio section is too square for the rhythmic asymmetry to register, and Bavouzet’s big ritard when the main theme momentarily appears in B minor makes Beethoven’s intended surprise all too obvious. The pianist saves his most emotionally engaging work for a fluid, warm-toned Adagio.

Bavouzet’s graceful and poetic Op. 109 first movement dovetails right into the Prestissimo, where the pianist uncommonly differentiates detached and sustained phrase markings in the manner of Charles Rosen, Annie Fischer, and Freddy Kempf. The third-movement variations cohere by way of Bavouzet’s carefully unified tempo relationships, a virtue that also pertains to Op. 110’s finale.

You’ll also notice the point and precision on the bass trills leading from Op. 111’s Maestoso introduction into the Allegro proper, plus Bavouzet’s sophisticated shaping of the rapid unison lines. The Arietta theme is brisk but sensitively phrased, while a strong left hand presence provides an anchoring counterpart to the long chains of trills toward the movement’s end. It’s not an epic Op. 111 on the level of Pollini’s Apollonian reserve or Arrau’s expansive canvas; still, many pianists would be happy to claim Bavouzet’s authority and mastery. In sum, the best of Bavouzet’s Beethoven interpretations impart a fresh spin on thrice-familiar music without drawing attention away from the composer. That’s no small achievement.

Review by Jed Distler, ClassicsToday.com

Jean-Efflam Bavouzet - Ludwig van Beethoven: Piano Sonatas, Volume 3 (2016) 3CDs



Jean-Efflam Bavouzet - Ludwig van Beethoven: Piano Sonatas, Volume 3 (2016) 3CDs



Tracklist:

CD1 (1:12:40)

Sonata in F major, Op.54
01. I. In tempo d'un menuetto (5:35)
02. II. Allegretto (6:29)

Sonata in F minor, Op.57 'Appassionata'
03. I. Allegro assai (9:32)
04. II. Andante con moto - (5:59)
05. III. Allegro ma non troppo - Presto (8:19)

Sonata in F sharp major, Op.78
06. I. Adagio cantabile - Allegro ma non troppo (7:19)
07. II. Allegro vivace (3:13)

Sonata in G major, Op.79
08. I. Presto alla tedesca (4:37)
09. II. Andante (2:36)
10. III. Vivace (2:05)

Sonata in E flat major, Op.81a
11. I. Das Lebewohl: Adagio (7:28)
12. II. Abwesenheit: Andante espressivo (3:41)
13. III. Das Wiedersehen: Vivacissimamente (5:49)


CD2 (1:18:39)

Sonata in E minor/major, Op.90
01. I. Mit Lebhaftigkeit und durchaus (5:47)
02. II. Nicht zu geschwind und sehr singbar vorgetragen (7:27)

Sonata in A major, Op.101
03. I. Etwas lebhaft und mit der innigsten Empfindung (4:10)
04. II. Lebhaft. Marschmäßig (Vivace alla marcia) (6:18)
05. III. Langsam und sehnsuchtvoll (3:14)
06. IV. Geschwinde, doch nicht zu sehr (7:50)

Sonata in B flat major, Op.106 'Hammerklavier'
07. I. Allegro (10:48)
08. II. Scherzo. Assai vivace (2:50)
09. III. Adagio sostenuto (18:01)
10. IV. Largo - Allegro (12:15)


CD3 (1:00:26)

Sonata in E major, Op.109
01. I. Vivace, ma non troppo - Adagio espressivo (3:35)
02. II. Prestissimo (2:18)
03. III. Gesangvoll, mit innigster Empfindung (11:45)

Sonata in A flat major, Op.110
04. I. Moderato cantabile molto espressivo (6:13)
05. II. Allegro molto (2:18)
06. III. Adagio ma non troppo - Allegro ma non troppo (10:21)

Sonata in C minor, Op.111
07. I. Maestoso - Allegro con brio ed appassionato (8:32)
08. II. Arietta. Adagio molto semplice e cantabile (15:24)


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DR Peak RMS Duration Track
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DR14 -0.71 dB -22.91 dB 9:32 03-Sonata in F minor, Op.57 'Appassionata' - I. Allegro assai
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DR15 -6.19 dB -29.94 dB 3:41 12-Sonata in E flat major, Op.81a - II. Abwesenheit: Andante espressivo
DR13 -1.53 dB -21.54 dB 5:49 13-Sonata in E flat major, Op.81a - III. Das Wiedersehen: Vivacissimamente
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Exact Audio Copy V1.1 from 23. June 2015

EAC extraction logfile from 26. April 2017, 22:26

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Test CRC 9AFA07F9
Copy CRC 9AFA07F9
Copy OK

No errors occurred


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Jean-Efflam Bavouzet - Ludwig van Beethoven: Piano Sonatas, Volume 3 (2016) 3CDs

All thanks to original releaser - A-Z

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