Canadian pianist and composer Stewart Goodyear has been amassing quite a bit of attention lately, and deservedly so, judging from these vital, communicative, and intelligently stylish late-Beethoven performances. Swift tempos, forward sweep, linear clarity, imaginative yet never mannered inflections, and genuine joy in executing the composer’s volatile dynamic markings all characterize Goodyear’s interpretations.
Op. 101’s March movement and Allegro finale sound newly minted and utterly vital via Goodyear’s polished fingers, while the “Hammerklavier” outer movements pretty much adhere to the composer’s optimistic metronome markings. Even the slightly distant and drab engineering cannot mask Goodyear’s ability to convey subtle levels of tone color and varied articulations with little help from the sustain pedal. At 15 minutes, you would assume that Goodyear is about to charge through the Adagio sostenuto, yet there’s not a trace of militancy; the phrases really sing and breathe.
The last three sonatas’ final movements each benefit from Goodyear’s seamless tempo relationships and long lined sustaining power. Other notable details include Op. 110’s uncommonly distinct rapid left-hand figurations, and the manner in which Goodyear’s finely honed dynamic shadings generate welcome note-to-note tension in the dotted rhythms of the Op. 111 first-movement introduction. In addition, a genuine and sincere spirit informs Goodyear’s poetic booklet notes. An outstanding release, highly recommended.
