![]() | The Cavalier daily Thursday, November 4, 1971 | ![]() |
Handelian Grandeur
Like Horszowski, Serkin has
chosen to ignore the rather extreme
metronome marking which
Beethoven indicated for the first
movement, emphasizing its
Handelian grandeur rather than its
headlong virtuoso aspects. To the
Scherzo the pianist brings a sense
of cohesion that is usually lacking;
he succeeds in sustaining both long
melodic lines and the listener's
interest in the extended slow
movement; and he conquers the
extreme technical difficulties of the
fugal last movement with ease.
Serkin's is an interpretation of
the Hammerklavier Sonata to be
reckoned with, for not only does he
overcome the difficulties presented
by the individual movements, but
he also brings to the sonata a
unified conception that is not to be
found in any other stereo recording
of the work, save that of Charles
Rosen.
![]() | The Cavalier daily Thursday, November 4, 1971 | ![]() |