SOKOLOV, GRIGORY

De recitals van Grigory Sokolov zijn legendarisch en zijn debuutalbum voor Deutsche Grammophon werd vorig jaar met prijzen overladen. Dat zal met deze dubbelaar niet anders zijn. Op twee schijven horen we recitals uit Salzburg en Warschau met werken van Schubert en Beethoven (en in de toegift Rameau). Schuberts Impromptu’s zijn al zeer indrukwekkend, maar in Beetoven Hammerklavier-sonate rijkt Sokolov tot grote hoogten. In het langzame deel geeft Sokolov de noten alle ruimte om te ademen en de enorme fuga waarmee de sonate besluit is adembenemend. Dit is zonder enige twijfel een van de langste opnames van de Hammerklavier-sonate, maar geen moment heeft de luisteraar het idee dat Sokolov traag speelt, integendeel. Sokolov is een gigant.


Grigory Sokolov plays Schubert & Beethoven

Beethoven:
Piano Sonata No. 29 in B-flat major, Op. 106 'Hammerklavier'
Ex Salzburg Festival, 23 August 2013

Brahms:
Intermezzo in B flat minor, Op. 117 No. 2
encore. Ex Salzburg Festival, 23 August 2013

Rameau:
Les tendres plaintes
encore. Ex Salzburg Festival, 23 August 2013

Pièces de Clavecin 1724: Les Tourbillons
encore. Ex Salzburg Festival, 23 August 2013

Les Cyclopes
encore. Ex Salzburg Festival, 23 August 2013

La follette
encore. Ex Salzburg Festival, 23 August 2013

Les Sauvages
encore. Ex Salzburg Festival, 23 August 2013

Schubert:
4 Impromptus, D899
Ex Warsaw Philharmonie, live recording 12 May 2013

Klavierstücke (3), D946
Ex Warsaw Philharmonie, live recording 12 May 2013


Grigory Sokolov (piano)


Grigory Sokolov is an exceptional artist. He is regarded as one of the world’s leading pianists and adored by his audience in sold-out concerts – dedicated to his art, and nothing else.

His debut album on Deutsche Grammophon “Salzburg Recital” was a huge success and is the best-selling frontline core classical release this year to date.

With Schubert & Beethoven we have another hit in our hands: Grigory Sokolov plays late masterworks by Schubert, including the much-loved Impromptus, and Beethoven’s mighty “Hammerklavier” Sonata, finishing with six impeccable encores by Rameau and Brahms

This outstanding recital is culled from concerts in Warsaw and Salzburg. Salzburger Nachrichten claimed: “Wherever he plays, the utopia of ultimate satisfaction is closer than ever… “

An hour of Schubert comprising some of his best-loved piano music (the Impromptus in A flat and G flat major, with rippling arpeggios and timeless melodies), and three of his late piano works that search out the depths of his art (look at an excerpt here: https://youtu.be/oOVJBE5Utvc )

Beethoven’s longest piano sonata – one of the famous “late” sonatas – explores the whole range of the extended keyboard then available to him. It lasts over 45 minutes and is one of his most over-the-top works –with its huge fugal finale that has been known to drive listeners crazy. Sokolov has it all under control.

After Mozart & Chopin this new live recording is another pianistic landmark release.


Around this time last year, I wrote enthusiastically about Grigory Sokolov's first release on Deutsche Grammophon, so it was with great excitement that I learned of his second offering, featuring music by Schubert (Four Impromptus, D899 and Three Klavierstücke, D946) and Beethoven (the mighty Hammerklavier sonata, op. 106).

Grigory Sokolov
(review Presto Classical)

For me, part of what makes Sokolov such an extraordinary pianist is his use of rubato and his flexibility with tempo: the way he will fractionally delay the second beat of a bar so as to highlight an accent in the first Schubert Klavierstück, for instance, or the space he creates by extending the quaver rests at the end of each phrase of the fourth Impromptu just to give a lift to the music, is really something rather special. Artur Schnabel was once quoted as saying “The notes I handle no better than many pianists. But the pauses between the notes - ah, that is where the art resides!” How true this is too for Sokolov!

Incidentally, Sokolov performs the long version of this first Klavierstück, by which I mean that he includes the section that Schubert had crossed out in his original manuscript, but which was restored by Brahms when he was producing the first edition. I think I'm right in saying that nowadays most pianists (including Pollini, Brendel, and Paul Lewis) opt for the shorter version, and it is true that including this extra section does make it quite a long piece (over fourteen minutes), but when it's Sokolov playing I really don't mind!

As elsewhere, rubato is deployed to great effect in this piece, such as to highlight the peak of a crescendo just before the return to the A section. His tone in the slow B major section is enchanting, and the way he shifts colour with the repetition of a phrase is quite remarkable. Similarly, his playing at the start of the first Impromptu is nothing short of breathtaking; I can't recall the last time I heard such a beautifully hushed pianissimo sound. Truly exquisite playing.

So then onto the Beethoven. What can I say about this juggernaut among piano sonatas? My initial reaction was that it seemed to be a fairly unusual interpretation, and certainly the very opening didn't immediately bowl me over in the way that the Schubert did. I’ve been pondering quite a bit why this was, and I think part of it may be that his tempos throughout are often slower than I was used to, particularly in the first movement, which is more measured than one usually hears, introverted, dreamy almost, and perhaps less “frenetic”, for want of a better word, than, say, Richter or Brendel. Even in the opening bars he can't resist a bit of rubato, shaping and crafting the end of the second phrase where most people plough through!

Overall, I think this must be one of the slowest Hammerklaviers on disc: he is just short of 53 minutes, where, for comparison, Pollini takes about 43 minutes. The important thing, though, is that, my initial reaction aside, it doesn’t feel ponderous or plodding, and it's certainly never boring. Although Sokolov's slow movement takes well over twenty minutes, never does the pace sag or seem as if it doesn’t know where it is going. Having heard it many times recently I think I now understand what he was after: it's a slow burn that draws you in with the steady brilliance of the playing, and by the end the cumulative effect is quite overwhelming. Another masterful performance from Sokolov!