Radu Lupu’s 1973 recital devoted to these popular “name” sonatas boasts gorgeous, roomy sonics that have not dated one iota. The performances, though full of absorbing and inspired pianism, are sometimes incongruous, stylistically speaking. The famous C-sharp minor sonata Adagio, for example, heaves, sighs, and swoons so that no dullard will miss its alleged “Moonlight” subtext. Mincing details soften the Allegretto’s woodwind-like atmosphere, while the finale erupts with violent accents and dynamic extremes. On the other hand, the grander-scaled Pathetique sonata is more conducive to Lupu’s theatrical conceits. Surprisingly, Lupu appoaches the Waldstein’s hurling brio with caution, yet turns in an inward, beautifully voiced Adagio that leads into a rather held-back finale–and do I hear some added octaves in the bass à la Backhaus? I also suspect that Lupu is cheating, playing the coda’s octaves with two hands, rather than as a glissando in one hand. Lupu might be way off base compared to more stylishly sound Beethovenians like Rudolf Serkin, Wilhelm Kempff, and Richard Goode. One thing’s for sure: Lupu’s performances are anything but faceless.
