Overall coherence but not always best

Begin by highlighting the three main benefits of this welcome re-release on the occasion of the eightieth birthday of the Master. First, a great coherence as these are the recordings made in the seventies during the second sonatas engraved by Brendel (three available) and third integral of four piano concertos recorded. Then the quality of the sound recording, truly remarkable and worthy of the best current records for a large number of sonatas and concertos all. Finally, the very attractive price especially for twelve CDs providing over fourteen hours of music at the top.

Among the reserves, we will mention the following. The choice for some sonatas, a very close piano pianoforte is quite disturbing with respect to a rather overall design that leaves room for a piano to sond round, fairly open, anyway always very well prepared for perfectly stick to the atmosphere so specific to each of the sonatas (eg piano extremely tense in the Hammerklavier). Fortunately, this impromptu burst is quite rare but sufficiently disturbing to be emphasized. Also, if the versions of concertis led by Haitink are quite honorable in their extremely classic style or conventional, they do not from the version Rattle / Brendel / Wiener Philharmoniker who presented us an explosive Beethoven much more dynamic and incisive recorded over twenty years later. Finger very particular point the fourth concerto which gives Haitink perky tone from the start of the first movement which immediately leaden interpretation. It will also be extremely surprised by the pace of Brendel, in line with last sonatas, playing with dissonances and out of step with the spirit of this concerto. The second movement is taken at a maddeningly slow pace and in the third was the feeling that the chef and pianist are definitely not able to agree on the spirit of this work nonetheless major. This is the biggest misfires of the cabinet.

Returning to the sonatas emphasize that Brendel has no equal in adagios always approached with particular care, a touch of piano that tears of all the tears he frequently addresses the sonatas on an extremely fast tempo characteristic of the first movements then slow down the line in the slow movements, working on a striking contrast to own and create a unique atmosphere. Among the best action of this integral for us included the Adagio of the Sonata No. 3 which is a pure delight, the Sonata No. 21 called masterful Waldstein, the last sonatas 30, 31 and 32 where Beethoven adventure on explorations dissonant and almost inaudible pianissimo suspending the sound in space, stretching to infinity, that advertise most daring incursions a few decades later. There Brendel demonstrated a stunning stylistic and technical mastery. But for us, the magic moment is that of the Hammerklavier which Brendel gives here almost jazzy paces. We hate or we applaud this very specific approach. We were, however, much more reserved on the classics Appassionata and Moonlight treated here with a little brusque.

Hence only four stars - and generous - because there are too many reservations to suit these recordings to make an absolute luminary though, in globo, this package will nonetheless constitutes a great opportunity not to miss , mainly for the sonatas.