Ludwig van Beethoven
Piano Sonata No.22 in F major, op.54
Media Review / Comparison
2014-09-29 — Original posting (on Blogger)
2014-10-05 — Added link to summary posting
2014-10-24 — Addendum pointing to concert reviews
2014-11-13 — Re-posting as is (WordPress)
2015-08-20 — Added reference to Brautigam’s complete sonata recording
2016-07-27 — Brushed up for better readability
2022-07-02 — Minor update (cosmetic only)
Table of Contents
Introduction / The Recordings
This posting is one of a series covering the recordings of Beethoven’s piano sonatas in my music collection, about the Sonata No.22 in F major, op.54. The respective section and related postings include references to the CDs. For links to all related postings see “Beethoven: Piano Sonatas, Summary“.
This posting is about Ludwig van Beethoven‘s Piano Sonata No.22 in F major, op.54. I currently have 7 recordings, shown here sorted by the artist’s last name:
- Wilhelm Backhaus (1969)
- Paul Badura-Skoda (1969)
- Daniel Barenboim (1984)
- Ronald Brautigam (2007)
- Friedrich Gulda (1967)
- Maurizio Pollini (2003)
- Artur Schnabel (1935)
I had Backhaus, Gulda, and Schnabel in my LP collection. The others I added as CDs only, in order to have a broader scope for a comparison.
Background, About the Composition
Ludwig van Beethoven (1770 – 1827) wrote his Piano Sonata No.22 in F major, op.54 in 1804; this one of the less-known sonatas, squeezed between its famous neighbors, op.53 (“Waldstein”) and op.57 (“Appassionata”).
The Movements
Unlike its neighboring sonatas, the piano sonata op.54 only has two movements:
I. In tempo d’un Menuetto (3/4)
This is not a real Minuet, but rather a Rondo-like movement with (approximate) ABABA structure; the “A” part is based on an amiable theme that starts as follows:
part “B” adds a stark contrast:
II. Allegretto — Più Allegro (2/4)
This movement uses a simplified sonata form scheme, with a single theme, Allegretto, starting as follows
The movement ends with a fast Coda, annotated Più Allegro:
The Interpretations, Overview
In order to provide a rating overview, as well as an idea about tempo relations both within an interpretation, as well as between the two recordings, I have prepared the table below. The color coding for the tempo (blue = slower, green = faster) refers to the average between the recordings:The metronome readings (M.M.) are approximations only.
The Interpretations, Detail
With the exception of Maurizio Pollini’s recording, all interpretations below are part of a complete set, covering all Beethoven piano sonatas. Emil Gilels has not recorded this sonata, unfortunately.
Wilhelm Backhaus (1969)
Beethoven: The 32 Piano Sonatas
Decca 473 7198 (8 CDs, mono / stereo); ℗ 1953 – 1969 / © 2006
Booklet: 28 pp. e/f/d
For general information on Wilhelm Backhaus‘ complete recording of all Beethoven piano sonatas see the post “Beethoven: Piano Sonata No.15 in D major, op.28“. Backhaus recorded this sonata in 1969.
Notes on the Movements
I. In tempo d’un Menuetto (3/4)
Duration: 5’17”
Too much rubato for the present time; I also don’t like the “emotional punctuation”: at least initially, the punctuations are exaggerated, almost double-punctuations. At least, the second theme is not quite as heavy as with Badura-Skoda.
II. Allegretto — Più Allegro (2/4)
Duration: 5’20”
The fastest version on a modern grand, within this comparison. Too fast, maybe also too fast for Backhaus in 1969? The articulation is often unclear, the dynamics are blurred. In the end, because of the fast tempo, the pianist has no reserves for a Più Allegro. Indeed, Backhaus plays this at the same tempo: the only “più” is in the dynamics.
Overall Duration: 10’36”
Rating (see above for details): 1.0 — Can’t recommend this, except for Backhaus fanatics.
Paul Badura-Skoda (1969)
Beethoven: The 32 Piano Sonatas
Paul Badura-Skoda (Bösendorfer 290 Imperial)
Gramola 987 42/50 (9 CDs, stereo)
Booklet: 20 pp. d/e/f/Japanese
For general information on Paul Badura-Skoda‘s complete recording of all Beethoven piano sonatas see the post “Beethoven: Piano Sonata No.15 in D major, op.28“. Badura-Skoda recorded this sonata in 1969.
Notes on the Movements
I. In tempo d’un Menuetto (3/4)
Duration: 5’34”
The beginning is heavy, almost clumsy: too slow. Worse than that: the second theme is way too forceful, even brutal. And it’s even slower than the beginning of the movement. This couldn’t be any farther than what Beethoven must have been envisaging for the instruments of his time! The slow tempo also causes difficulties in holding the pace. There are times when the tempo appears to run away.
II. Allegretto — Più Allegro (2/4)
Duration: 5’18”
Also this movement is often forceful, heavy, often almost brutal in comparison with others. The same applies to the Più Allegro.
Overall Duration: 10’51”
Rating (see above for details): 1.5 — Pretty disappointing to me.
Daniel Barenboim (1984)
Beethoven: The Piano Sonatas Nos.16 – 32
DG 413 766-2 (6 CDs, stereo); ℗ 1984
Booklet: 50 pp. d/e/f
For general information on Daniel Barenboim‘s complete recording of all Beethoven piano sonatas see the post “Beethoven: Piano Sonata No.15 in D major, op.28“. Barenboim recorded this sonata in 1984.
Notes on the Movements
I. In tempo d’un Menuetto (3/4)
Duration: 5’58”
The beginning, actually all of the first theme, lacks tension, even devoid of tension. Theme 2 is better in that respect. Contrary to Backhaus, Barenboim’s punctuations are too soft. They are actually almost triplets.
II. Allegretto — Più Allegro (2/4)
Duration: 5’59”
Too slow (the slowest version), clumsy, heavy, not an Allegretto. The articulation is careful, though. I have the suspicion that the slow tempo was selected for a more careful, detailed articulation of the melody in the sidelines (the melodies under the semiquaver passages). However, other interpretations demonstrate that one can make these melodies sound also at a faster tempo.
Overall Duration: 11’56”
Rating (see above for details): 2.0 — Not a highlight in this collection.
Ronald Brautigam (2007)
Beethoven: Piano Sonatas opp.53, 54, 57, 78, 79
Ronald Brautigam (Fortepiano by Paul McNulty, 2007, after Conrad Graf, ca.1819)
BIS-SACD-1573 (SACD/CD); ℗ / © 2008
Booklet: 28 pp. e/d/f
Beethoven: The Complete Piano Sonatas
Ronald Brautigam (Fortepiani by Paul McNulty)
BIS-SACD-2000 (9 SACD/CD); ℗ 2004 – 2010 / © 2014
Booklet: en/de/fr
This sonata was recorded in 2007, as part of volume 6 in Ronald Brautigam‘s recording project, covering all of Beethoven’s works for piano solo. For the sonatas on this CD, Brautigam is playing a replica of a fortepiano by Conrad Graf, Vienna, from 1819, built by Paul McNulty in 2007. Compared to the models Brautigam uses for the early sonatas (after Anton Walter, from around 1802), this model has a wider tonal range, more volume, and a bigger and sturdier body. This probably also makes its tuning more stable.
Notes on the Movements
I. In tempo d’un Menuetto (3/4)
Duration: 4’55”
From the sheer playing, I would rate this recording on a par with (or close to) Gulda’s (see below). But on top of that, there’s the instrument, adding almost dramatic new insights and views: the internal (sound) balance is very different from a modern concert grand, the transparency much better. Unlike on a modern concert grand, the staccato theme does not sound brutal at all, the dynamic possibilities appear substantially bigger than on modern pianos, e.g.: at the end of the last staccato passage, there’s a p bar, followed by a ff conclusion. None of the other interpretations shows this contrast as dramatically as Brautigam; a real eye opener that makes all other interpretations look pale or dull!
II. Allegretto — Più Allegro (2/4)
Duration: 4’57”
Simply excellent! Faster than the others, a proper Allegretto, at last! Yet, more transparent, and with excellent articulation; dramatic, has momentum. Of course, I like and prefer the brighter sound of the fortepiano over any concert grand, which are all much more neutral and often sterile.
Overall Duration: 9’51”
Rating (see above for details): 5.0 — Excellent, this shows what an interpretation on a period instrument can do; my clear favorite, once again.
Friedrich Gulda (1967)
Beethoven: The 32 Piano Sonatas, The 5 Piano Concertos
Friedrich Gulda,Horst Stein, Vienna Philharmonic
Universal 476 8761 (12 CDs, stereo); ℗ / © 2005
Booklet: 2 pp. + Track listing German
For general information on Friedrich Gulda‘s complete recording of all Beethoven piano sonatas see the post “Beethoven: Piano Sonata No.15 in D major, op.28“. Gulda recorded this sonata in 1967.
Notes on the Movements
I. In tempo d’un Menuetto (3/4)
Duration: 5’16”
Very good articulation and phrasing, with tension and drive.
II. Allegretto — Più Allegro (2/4)
Duration: 5’24”
Agile, transparent, very good articulation and dynamics, not overpowering. An excellent interpretation!
Overall Duration: 10’38”
Rating (see above for details): 4.0 — To me, clearly the best of the conventional interpretations within the selection in this comparison.
Maurizio Pollini (2003)
Beethoven: Piano Sonatas opp.54, 57, 78, 90
DG 474 451-2 (2 CDs, stereo); ℗ 2003
Booklet: 28 pp. e/d/f/i
At young age, Maurizio Pollini has released a highly acclaimed recording of the late Beethoven sonatas. Thereafter, he never appeared to aim at recording the complete set. He only released scarce recordings with additional sonatas. This one, with Beethoven’s “late middle sonatas”, was recorded in 2003.
Notes on the Movements
I. In tempo d’un Menuetto (3/4)
Duration: 5’06”
As often in Pollini’s recordings, the main impression is that of “concert grand sound”. Also, not very transparent, and the contrast to a period is immense in the staccato passages. Finally: Glenn Gould’s singing is better (and somewhat more in tune) than Pollini’s…
II. Allegretto — Più Allegro (2/4)
Duration: 5’35”
Again, somewhat lacking transparency, clarity, maybe too much pedal, “thick sound”. Still, it’s a solid interpretation.
Overall Duration: 10’40”
Rating (see above for details): 3.0 — A good interpretation, though for me it has too much “grand piano sound”.
Artur Schnabel (1935)
Beethoven: The 32 Piano Sonatas
Artur Schnabel (recorded in London, 1932 – 1937)
Regis / Forum FRC 6801 (8 CDs, mono)
Booklet: 8 pp. (mostly track listing) English
For general information on Artur Schnabel‘s complete recording of all Beethoven piano sonatas see the post “Beethoven: Piano Sonata No.15 in D major, op.28“. Schnabel recorded this sonata in 1935.
Notes on the Movements
I. In tempo d’un Menuetto (3/4)
Duration: 4’54”
Very good, considering that the recording is soon 80 years old! This is dramatic, expressive, with tension and momentum! Unfortunately, the track cut is 3 seconds late. But that doesn’t matter as long as one listens to both movements in succession.
II. Allegretto — Più Allegro (2/4)
Duration: 5’21”
Very good, and absolutely competitive against recent interpretations on a concert grand.
Overall Duration: 10’15”
Rating (see above for details): 3.0 — Definitely more than just a historic landmark. It remains a reference recording. But only for non-HIP interpretations, of course.
Addendum 1:
Beethoven’s piano sonata op.54 was featured in a piano recital at the Tonhalle in Zurich, on 2014-10-21, with Igor Levit. See my concert review (in German) on Bachtrack.com, “Ein Beethoven der verhaltenen Töne—Igor Levit in Zürich“. This is in German. I have written up a separate, more detailed review in the posting “Igor Levit, Tonhalle Zurich, 2014-10-21”.
Addendum 2:
For the non-pianists: I use pocket scores (typically Lea Pocket Scores or Kalmus) to follow this music. The Sonatas are covered in five volumes:
- No.1 – 6: —Find pocket score on amazon.com (#ad) —
- No.7 – 12: —Find pocket score on amazon.com (#ad) —
- No.13 – 20: —Find pocket score on amazon.com (#ad) —
- No.21 – 27: —Find pocket score on amazon.com (#ad) —
- No.28 – 32: —Find pocket score on amazon.com (#ad) —
