Jean-efflam Bavouzet / Beethoven: Piano Sonatas, Vol. 2 (2014)

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Jean-efflam Bavouzet / Beethoven: Piano Sonatas, Vol. 2 (2014)

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Jean-Efflam Bavouzet returns for the second volume of his survey of Beethoven’s Piano Sonatas. The project, set to conclude with Vol. 3 in 2014, runs alongside his complete recording of Haydn’s Piano Sonatas. Vol. 1 of the Beethoven series was critically acclaimed, BBC Music calling the performances ‘distinguished and virtuosic’ and Fanfare remarking that ‘his readings will withstand the test of time’. In this release Bavouzet performs the sonatas published between 1800 and 1804.

This period marked a transitional stage in Beethoven’s work and the arrival of his middle period. Included are the two Op. 27 sonatas, both modified ‘quasi una fantasia’ that break away from traditional forms. One of these, the ‘Moonlight’ Sonata, features one of his best-known movements, the opening Adagio sostenuto, which unfolds like a baroque prelude with its famous rolling triplets and lamenting melody. The ‘Waldstein’ Sonata, Op. 53 is one of the glories of Beethoven’s middle period and surpasses all his previous sonatas in scope and scale. Also recorded here is the Andante in F, a piece originally intended as the slow movement to the ‘Waldstein’. Although later replaced by a shorter Adagio molto this is a charming piece in its own right and quickly became one of Beethoven’s most popular works after being published alone as the Andante favori.

Composer: Ludwig van Beethoven
Performer: Jean-Efflam Bavouzet

Reviews: The virtues of the first three-CD set that launched Jean Efflam-Bavouzet’s Beethoven sonata cycle for Chandos largely prevail throughout Volume 2. Like Richard Goode and Claude Frank, Bavouzet’s lean, pinpointed sonority, rhythmic directness, freedom from mannerisms, and strong linear awareness convey both a strong sense of classical style and expressive economy. Bavouzet’s dynamic range is not particularly large, yet his subtle variety of articulations, thoughtful accentuation, and very discreet use of the sustain pedal give the playing a distinctive profile that recalls other intimate, Apollonian Beethoven stylists like Wilhelm Kempff, Walter Gieseking, and Robert Casadesus. Moreover, Bavouzet brings more tension and fire to his interpretations than those of his label mate Louis Lortie.

If Bavouzet falls short of Stewart Goodyear’s brash audacity and risk taking, at least this pianist avoids the occasional fussiness we hear from Paul Lewis and András Schiff, or the often faceless perfection of Mari Kodama, among recent Beethoven cycles. The opera buffa-like character of Op. 22’s Allegro con brio comes out through Bavouzet’s minuscule stretching of certain rests and note placement of cadences. The steady, slightly muted Adagio leads gracious, simply shaped third and fourth movements that nevertheless sound a trifle bland next to the Pollini remake’s heightened left-hand details.

A soft-grained start to the Op. 26 opening movement variations does not prepare you for the minor-key variation’s sudden intensity, or for the Scherzo’s forceful detached articulations. The Funeral March is as focused and rock-steady as one can wish, yet never rigid, while subtle accents and dynamic hairpins gently illuminate the toccata-like Allegro’s cross-rhythmic phrasings. I like Bavouzet’s long-lined animation in Op. 27 No. 1’s opening Andante theme, but the sudden quick episode’s barrage of notes loses impact when the pianist makes slight ritards at the end of phrases. While the second movement moves slower than what I take Beethoven’s Allegro molto e vivace to represent, Bavouzet’s steady momentum wins the day.

The “Moonlight” Adagio sostenuto proceeds at an ideal “walking” tempo, with bass notes, lilting arpeggiated accompaniment, and right-hand melody voiced with harmonious transparency. The Presto agitato is slightly held back, yet its carefully gauged climaxes and textural clarity make up for the droopy, foursquare Allegretto. The “Pastorale” receives another clear and transparent reading that somehow leaves a plain and matter-of-fact impression when compared to the similar yet more imaginatively nuanced account by recent contender Jonathan Biss–yet sparks eventually fly in the Rondo, capped by Bavouzet’s buoyant prance through its treacherous final pages. He plays the two little Op. 49 works well, if not with anything to displace more characterful and affectionate traversals (Stephen Kovacevich, for example).

Bavouzet’s “Waldstein” evokes the classicism, bracing rhythm, and refinement of Solomon’s great 1950s EMI recording, down to an ever-so-slight reluctance to take the Rondo’s controversial long pedal markings on faith. A lovely, understated Andante Favori makes for an apt encore, in that it was Beethoven’s original “Waldstein” slow movement.

I save the three Op. 31 sonatas for last, because they contain Bavouzet’s most consistently inspired and satisfying work here. Few pianists sustain the G major sonata Adagio grazioso’s detached left-hand accompaniment and intricate right-hand writing to Bavouzet’s slow, concentrated effect. The “Tempest” abounds with vivacious linear interplay in the first movement, while minute gradations of touch and emphasis bring new life to the Rondo’s galloping accompaniment. Also notice Bavouzet’s sardonic, gruff handling of the woodwind-like keyboard writing in Op. 31 No. 3’s Scherzo, and the deftly contoured (if not quite “con fuoco”) Presto finale. In short, Volume 2’s few disappointments should not detract from its considerable felicities, and I look forward to this cycle’s next installment.