Image: ©️ Marco Borggreve
Sunwook Kim arrives at the last three Piano Sonatas by Beethoven after recording the “Emperor” Concerto, few middle period Sonatas and the “Hammerklavier”, all well-received. The late Sonatas’ immense difficulty lies in one’s ability to not only process but also to convey the deep emotions Beethoven expresses in his writing. Kim does this quite well in Op. 109; the first movement (track 1), for example, has a welcoming lyricism that blossoms into an expansiveness that embraces the listener. The Prestissimo (track 2), well-paced, makes for an exciting listen with its assertiveness.
Op. 110 is, for me, less successful. The opening lines have a lovely optimism but hesitation quickly creeps in. The arpeggios seem overly-analyzed and instead of sparkling, are a bit uneven. Caution persists through much of the movement when it would thrive on more freedom. Fazil Say’s version from his 2020 complete cycle, for comparison, is unconventional in certain regards but impresses with its uniqueness and spontaneity.
The pianist’s artistry shines in more subtle moments such as the third movement’s Arioso dolente. In contrast to a more outspoken interpretation from Pollini (2020), Kim’s is philosophical. It goes beyond beautifully-shaped melodies; the chords are also velvety and have their own voicings that draw out secondary lines. The sprawling fugue that follows suit in character is generally well-voiced; the oddly harsh accent at 4:57, however, jolts us and not in the best way.
Kim’s Op. 111 is stylistically similar to 110 in its restraint, which works in some cases but not in others. The nicely voiced softer notes make for a good contrast to the austere, symphonic quality of the opening. While this is a totally valid stylistic approach, I do prefer Igor Levit’s 2013 release: dotted rhythms are tighter and the tempo slightly more brisk; this better captures the bold defiance at the heart of the movement. Some might find the Allegro con brio section light-handed, but I think the pianist brings out the appropriate amount of energy while still playing to the work’s sophisticated elements. The sixteenth note runs have a delightful clarity but enough momentum; the omnipresent accents are well-managed to create a crisp, martial quality that avoids the trap of doggedness.
Related Classical Music Reviews
- Review: Beethoven – Complete Piano Sonatas – Igor Levit
- Review: Beethoven – Late Piano Sonatas – Nikolai Lugansky
- Review: Beethoven – Complete Piano Sonatas – Fazil Say
The second thematic (A-flat major) section shows Kim’s understanding of how to draw listeners in. He maximizes the melody’s meandering character and ritardandos (3:05-3:22) for communicative effect. By prolonging the rests in particular, he toes a fine line between anticipation, surprise, and maybe even concern – but the purpose is revealed in the breathtaking color changes of the ensuing chords. The overall trajectory is well-thought out, too. Kim chooses to bring out his full power in choice moments like the beginning of the recapitulation, making these moments all the more convincing.
The Arietta-Adagio (track 8), a theme and variations like the concluding movement of Op. 109, reflects Beethoven’s developments in sonata form through the inclusion of different organizational structures. Kim plays the theme with calm and mellow tones, though it admittedly pales in comparison to Claudio Arrau’s gold standard from his 1960 Stockholm recording, that brings more contour and dimension to the theme’s simplicity (I much prefer this version to the all-too-serious Phillips performance).
Compositionally, the variations initiate a buildup of robustness and rhythmic drive. This is where Kim falls short: refinement becomes overly consistent, dimming the personality of each variation. For instance, the L’istesso tempo (6:51) should have an infectiously fun and jazzy feel but is too distant. Arrau’s is raw, boisterous, and hence, captivating.
Recorded at Kunstkraftwerk (a former power plant converted into an art space), the recording brings out the pianist’s nuances, though the reverb feels extraneous at times. The liner notes are structured curiously by musical elements of space – logic, temporal, and resonance among others – rather than by sonata. This might be confusing for some but does highlight interesting parallels between the works.
Kim delivers a valiant effort in tackling this behemoth of works, and with partial success. For the listener looking keenly for the true essence of late Beethoven, though, other interpretations may prove more gratifying.
Beethoven – Piano Sonatas, No. 30 (Op. 109), 31 (Op. 110), 32, (Op. 111)
Sunwook Kim – Piano
Accentus Music, CD ACC30527
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