Artur Schnabel’s Beethoven sounds as bold, intelligent, and expressive today as it undoubtedly did when these timeless performances first appeared on 78s. Listen to the surging yet flexible line and the intense brio he brings to the outer movements, or his heartfelt, cello-like shaping of the bass lines in Op. 2 No. 2’s slow movement. Yes, there are snatched-at passages and a few wrong notes here and there, but any notion of Schnabel being less than a brilliant technician should be dispelled by sampling his gorgeously adjusted runs and supple wrist work in the C major Sonata’s difficult finale.
Schnabel, of course, does not need my endorsement, since critical consensus has taken care of that issue for decades. What consumers need to know is how Mark Obert-Thorn’s new transfers compare with Seth Winner’s on Pearl, which were highly superior to the EMI Références edition. In essence Obert-Thorn works from cleaner shellac pressings and tweaks the surface noise down a few notches. Winner, however, obtains more room tone from the originals, plus a little more depth, presence, and detail to Schnabel’s sonority. The transfer differences are more subtle than striking, and won’t really affect general collectors who’ll be pleased as punch to obtain Schnabel’s Beethoven cycle, cleanly and carefully transferred in individual installments at a bargain price. Picky piano mavens, though, may well opt for Pearl’s more expensive multi-disc sets. Whichever edition you choose, Schnabel’s vital, meaningful music-making is worth acquiring at any price.
