Classical Beethoven Performances in a New Cycle from Young Hyun Cho

Beethoven: Piano Sonatas Nos. 12-15 Young Hyun Cho, piano. Blue Griffin Records 685 Total Time:  72:17 Recording:   ****/****

Performance: ****/****

Korean-born pianist Young Hyun Cho currently teaches at Michigan State University where she is Associate Professor of Piano.  She has also embarked on the ambitious project to record all 32 of Beethoven’s piano sonatas.  The last three were released on the Sony label and it is unclear why she has shifted to Blue Griffin, though perhaps the popularity of these sonatas in the other label’s catalogue were the issue.  At any rate, Cho has put together this release of what must be Beethoven’s four most popular sonatas: the “Funeral March” (No. 12), the “sonata quasi una fantasia” (No. 13), “Moonlight” (No. 14), and “Pastoral” (No. 15).

There is no need to go into a great detail about these familiar sonatas.  Each have their memorable components.  Number 12 is its third-movement march, Number 14 it’s opening slow movement, for example.  Cho’s performance of the 12^th makes for a compelling introduction to her approach to these works.  There is crisp, and clearly articulated touch that is beautifully handled.  It is interesting to hear the staccato playing that then gets equally gorgeous lyrical approach where the pedaling helps to create fine phrases.  Both hands are clear in their materials as well which is aided by the sound Blue Griffin has created for the recording.  There is even a bit of wit that winks along the way in the first two movements which sets up the listener for a shattering funeral march, which feels just a tad rushed.  (Her performance clocks out similar to Alfred Brendel’s Vox recording.) 

The faster pace is also present as we head into the innocuous melody of the thirteenth sonata.  It certainly provides plenty of great virtuosic displays, with stunning scalar runs!  The accentuation here, as in the earlier sonata are brought out well.  In the Moonlight, listeners may wish a bit more time in that opening adagio.  The arpeggios float by rather quickly at first, but as the movement progresses and the additional ideas are added in the lower registers and the short melodic thread appears, the mystery of the music seems to come alive more.  Gone are the overly-romantic rubato approaches often made for this sonata especially.  Instead, we get to hear this far more as a Classical sonata, albeit one that is shifting expectations of formal structure and order.  This makes the incessant arpeggio all the more disarming and the final bars are quite stunning as this idea begins comes to a close.  Lest one is not convinced, Cho’s tempo choice flows perfectly into the second movement and helps us hear a connection that does not leave the first movement as an anomaly after all and the final movement is a stunning cap!  The final sonata here returns to moments that begin to hint at a romantic sensibility in the gentle themes of the opening allegro.  The work returns to the four movement traditional approach with an extensive opening movement, followed by an andante, a fun scherzo, and a delightful rondo.  It brings this little recital to a wonderful close.

Cho’s readings do not linger much.  There is not that over-pedaled moodiness one might find elsewhere, and some may wish that more in the Moonlight.  The sudden outbursts of passion though are handled quite well within the tempi Cho has chosen.  It can make the accents all the more dramatic when they suddenly pop for the appropriate accent (check out the galloping second movement of No. 13, for example).  Often one is left breathless by the ongoing unfolding of Beethoven’s lines and the music is allowed to naturally build without an overly-emotional reading.  When it is needed, Cho’s phrasing helps bring out this shift well.  All of it is helped by an excellent recording. 

In familiar repertoire like this one must be caught early by the approach taken and if you are entranced by the opening sonata, chances are you will find the rest of her readings here equally enthralling.  There is a sense of Classical poise that Cho brings to these pieces.  The accentuation helps to remind us of his style well and this helps to pull the listener into her approach.  There is such great command of dynamic shading across the keyboard with an equally fine attack in both hands.  Tempi are a little more brisk throughout but within the context of each sonata these choices work well.  The precision of the performances is also to be admired.  Heard with their companions, the sonatas feel very much a part of this particular moment in Beethoven’s life with a performance informed by the period itself and not the romantic detritus that can be drawn from these when they are perhaps heard in isolation.  In the end, having fine performances of these four popular works on one disc turns out to be an excellent idea that should have listeners seeking out future releases in her cycle.