Music Reviews : Brendel Continues His Beethoven Cycle

Alfred Brendel has been playing the Beethoven sonatas in public for more than three decades. Yet, as he showed again at the fourth of his seven-concert series devoted to these works--this one spanning 1993-96--intimate knowledge of the canon has not made his playing of it unduly weighted, or deadly serious or even mentally fatigued.

In fact, the Austrian pianist’s experiences with the 32 sonatas seem to have liberated him, in his current survey, to explore many possibilities--many honest options--in these scores.

So it was, Tuesday night in the Dorothy Chandler Pavilion, in five more sonatas--the two of Opus 14; the “Pathetique,” Opus 13; the B-flat of Opus 22, and “Das Lebewohl,” Opus 81a--that a large and rapt audience gratefully received the 63-year-old pianist’s living knowledge of works we consider familiar but that, in fact, Brendel is rediscovering constantly.

Gratitude is the appropriate reaction: Throughout this generous evening, one heard the music first, in logical, clarified, projected and polished performances. Playing the piano beautifully, of course, is not secondary with Brendel--he usually always does it--but it is what we notice, after the musical experience.

Naturally, for some, there were surprises: the almost-amazing Haydnesque sweep and detailing of the irrepressible G-major Sonata, Opus 14, No. 2; the breathtaking, pristine seriousness of the opening of Opus 13; the caressive closing of the finale in Opus 22--indeed, the controlled but abundant affection Brendel lavished upon every part of this beloved B-flat sonata, often said to be the composer’s favorite.

Being in the presence of a great pianist, one is reminded that virtue--and virtuosity--is many-faceted: Brendel’s musical insights, superior intellect, emotional thrust and sensitive, nuanced playing reside together and reinforce each other. His achievement consists in their integration.

Tuesday night, his encore turned out to be the two-movement, G-major Sonata, Opus 49, No. 2, obviously balancing his Sunday night encore, the other, two-movement Sonata of Opus 49, the G-minor (No. 1).