Ludwig van Beethoven (1770-1827)
Genius Beethoven
Piano Sonata No 4 in E-flat, Op 7
Six Ecossaises, WoO 83
Six Variations on a Swiss Song, WoO 64
Seven Variations on ‘God save the King’, WoO 78
Rondo a capriccio, Op 129 ‘Rage over a Lost Penny’
Piano Sonata No 21 in C, Op 53 ‘Waldstein’
Ulrich Roman Murtfeld (piano) 
rec 2023, Markus-Sittikus Saal, Hohenems, Austria
Genuin GEN 24904 [73]

Entitled ‘Genius Beethoven’, this CD illustrates his variety. You couldn’t do better than the first movement of Piano Sonata No 4 (tr. 1), a marvellous kaleidoscope of sound. The soft opening belies the strength of its flowing quavers, the heart of the first idea, a more characterful combination of a rising seventh then smoother fall (0:41), the second theme, the third, a serene smoothing out of these elements (0:59). In the development (4:42) the quavers amble on, but the right-hand climaxes and thunders. Entertaining and shocking, Murtfeld pulls no punches, memorable tunefulness and outrageous contrasts stand together.

The Six Ecossaises (tr. 5) are a gem, a short dance sequence as enjoyable and varied as the Strauss successors. No 1 trips contentedly, its refrain giving prominence and fervour to the left hand and recurring after all numbers. No 2 (0:20) features cheerful trickle-down descents, No 3 (0:30) is robust and bouncing, No 4 (1:00) graceful in its flowing phrases, No. 5 (1:20) plays with alternating high descents and low rises, No 6 (1:40) begins its strains with extravagant appoggiaturas.

Six Variations on a Swiss Song (tr. 6) demonstrates Beethoven’s technical prowess and virtuosity surrounding a simple but clear theme consisting of four short phrases, three very similar, the other, the third to appear, an apex from which comes resolution. The outcome is attractive innocence or didactic exhortation, depending on how it is played. Murtfeld votes for innocence. I like the space he gives the theme opening. Notable features later are how the outlook remains smooth and serene, despite the key change from F major to F minor in Variation 3 (1:03) and the arrival of enthusiastic staccato with the return to F major in Variation 4 (1:39). In the final variation (2:20), the staccato rise is thrillingly offset by cascading descents in semiquavers before a rising motif is calmingly echoed from soprano to tenor to bass register.

I compare this with the preceding CD recording of 2019 from See Siang Wang (RCA 19439883152). Wang votes for flamboyance, think Don Quixote. He boldly emphasises the rising staccatos from the start. His Variation 3 is more careworn yet still savours the experience, his Variation 4 is more relished and the final variation is more impassioned until the neat ending. Wang’s is a more nuanced account, but I feel I’m being directed and prefer Murtfeld’s greater reflection.

Seven Variations on ‘God save the King’ (tr. 7) is Beethoven’s and Murtfeld’s dazzling treatment of the UK national anthem. This starts calmly with the standard version today and apparently that of 1803, in which the first phrase is pedestrianly repeated, presumably for march purposes. The superior earlier version adds an appoggiatura at ‘our’ in the first phrase repeat, which Haydn uses straightway in his variations in the slow movement of Symphony 98. Beethoven reserves this earlier version for the solemn Adagio passage in the coda (7:07) before his showy, final flurry of notes. Highlights of this set are the flowing quavers and cool harmonies of Variation 1 (0:54) and the con espressione change from C major to minor picturing the cares of monarchy in Variation 5 (4:16).

The Rondo a capriccio, Op. 129, ‘Rage over a lost penny’ has Murtfeld sounding like the Keystone Cops in the manic bustle of almost omnipresent semiquavers in clusters of four. Starting merry and uninhibited, the third episode (tr. 8, 0:41) turns with petulant force into G minor, the fifth (1:28) lands in triumphant descending then ascending E major. You’ll welcome a gentle variant of the rondo theme between the hands (2:58) and the unexpected calm-down of imitative counterpoint (5:14). Murtfeld takes this all in his stride. Vincenzo Maltempo (Piano Classics PCL 10181), published 2020, brings a smoother ride, but I prefer Murtfeld’s embracing of its gusto.

Murtfeld ends with the outright masterpiece, the rondo finale of Piano Sonata 21, the Waldstein. The focus is on the returning rondo theme, which is varied in mood and presentation. Murtfeld first presents the theme softly, reflectively, relaxed yet lovingly and spasmodically throughout the movement drifting into C minor from C major. Then it suddenly burgeons into ff. The first episode (tr. 11, 1:19) is like a gym routine of semiquavers in triplets exchanged between the hands, joined by a macho melody in the bass in octaves (1:29), soon claimed by the soprano before transforming to a gentle variant of the opening of the rondo theme. Episode 2 (3:43) is in C minor ending in coloratura, presenting a heroic, declamatory version of the rondo theme. Episode 3 (5:19) is a feast of arpeggios seemingly announcing a cadenza, but you get the rondo theme ff, prestissimo but dolce too, its final presentation sheer ecstatic enjoyment. Murtfeld sails through it all with ease and aplomb.

I compare this with Rudolf Serkin’s recording of 1986, unpublished until 2023 (review) when Serkin’s daughter Judith sanctioned its release, Serkin not having done so. This is an amazing and very moving feat by an 83-year-old pianist. He’s more punctilious, as are Beethoven’s markings, about the pp opening and other appearances of the rondo theme, so you’re aware of this as the pure essence of the piece. Murtfeld, preferring p, is creamier, more laid-back, but his later burgeoning has more vivid character. The same is true of his episode 2, though Serkin clearly enjoys it and his heroic version of the rondo theme is fittingly clangourous. With Murtfeld I feel not a note is wasted, everything fits into place. The closing Prestissimo Serkin treats as a light flurry, rather mirage-like, where Murtfeld brings more lightly joyous ecstasy. Yes, Serkin is special, but Murtfeld is utterly magnificent.

Michael Greenhalgh

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