How did
Alfred Brendel, the pianist who has recorded the complete piano sonatas and the complete concertos of
Beethoven an incredible three times each in a career of more than 50 years, decide which recordings to pick for this two-disc
Beethoven collection? Always an intellect of startling lucidity and a virtuoso of staggering ability,
Brendel has decided against anything from the '60s and '70s -- with one exception, these recordings are all from the middle to late '90s -- thereby excluding his most severe performances in favor of his most later, more approachable performances. This is fine as far as it goes.
Brendel's 1996 Sonata in E major, Op. 109, is certainly more lyrical than his rigid earlier recordings and his 1993 "Waldstein" Sonata, Op. 53, is likewise surely more serene than his rushed earlier recordings. But
Brendel's 1995 Sonata, Op. 111, is just as hard and unrelentingly as any of his earlier accounts, while his 1997 Concerto, Op. 58, with
Simon Rattle leading the
Vienna Philharmonic is unfortunately more wayward and unaccountably far more self-indulgent than either of his earlier accounts. Listeners who already know
Brendel's approach to
Beethoven probably already know all of these recordings. Listeners who don't already know
Brendel's approach to
Beethoven, this set will be a handy way to decide if it appeals sufficiently to hear more. Philips' piano sound is as Philips' piano sound always is -- tremendously clean and terrifically clear.