To judge by the "Vol. 1" on the cover of this Onyx-label release, the young American pianist Jonathan Biss appears to have embarked on a cycle of Beethoven's piano sonatas. Biss has also issued an e-book on the subject of playing Beethoven, making reference to the Austrian pianist Artur Schnabel as a model. His playing reflects that model, with fast tempos, sweeping views of structure, and lyricism reserved for a certain type of noble Beethovenian melody rather than indiscriminately applied. At his best, what you get is ...
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To judge by the "Vol. 1" on the cover of this Onyx-label release, the young American pianist Jonathan Biss appears to have embarked on a cycle of Beethoven's piano sonatas. Biss has also issued an e-book on the subject of playing Beethoven, making reference to the Austrian pianist Artur Schnabel as a model. His playing reflects that model, with fast tempos, sweeping views of structure, and lyricism reserved for a certain type of noble Beethovenian melody rather than indiscriminately applied. At his best, what you get is Schnabel minus the smudged notes that sometimes make his profound interpretations a bit infuriating; Biss has formidable technical equipment. The collection of three early sonatas to kick off the set, followed by the Piano Sonata No. 26 in A flat major, Op. 81 ("Les Adieux"), is an odd one, with none of the early sonatas usually being counted among the favorites or even middle-level favorites. But Biss does a fine job in the Piano Sonata No. 11 in B flat major, Op. 22, with real...
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