Maurizio Pollini’s recordings of the late Beethoven sonatas released in 1977 represented a modern-day gold standard. Objectivity and classical rigor defined Pollini’s Beethoven style, along with an impeccable technique that cut no corners. Moreover, Deutsche Grammophon’s close-up, analytic engineering underlined and arguably exaggerated the clarity and impact of Pollini’s laser-like sonority. A relatively distant and diffuse sonic picture characterizes Pollini’s new 2021/2022 studio recordings of Op. 101 and 106, replicating how one might perceive the his sonority from a center row orchestra seat in a standard-sized concert hall. More importantly, however, the recordings reveal the 80-year-old pianist’s mastery to be astonishingly intact: more so, indeed, than in some of his recent Chopin remakes.
It’s interesting that each and every movement clocks in at a shorter duration than in the 1970s traversals. This is less a matter of tempo than Pollini’s focusing on forward momentum over little details. For example, the 1977 Op. 101 Scherzo’s dotted rhythms were articulated to an inch of their lives, whereas Pollini now concentrates on longer lines and larger phrase shapes. The same observation applies to the comparably lyrical yet relatively less inflected first movement.
In this sense, Pollini’s introductory Largo leading into the Op. 106 Hammerklavier sonata’s fugal finale loses its erstwhile magic and masterful timing, although the gnarly fugue sustains its headlong energy and polyphonic cogency without bogging down. Likewise, the first-movement Allegro bounds from the starting gate and never lets up.
You won’t hear Murray Perahia’s variety of character and lyrical nuances, but you do get the A-sharp “misprint masterstroke” in the rising chain of broken fifths and sixths just before the recapitulation (measures 224-226); here Perahia plays A-natural. The Scherzo Trio’s odd cross-rhythms and wacky upward F major scale are newly emboldened as well. But I find the new Adagio sostenuto perfunctory and even impatient, lacking the earlier recording’s subtle dynamic gradations, expressive legato touches, and pockets of repose. Still and all, Pollini remains a compelling and communicative Beethovenian whose interpretations continue to evolve. More power to him!