On Sunday, June 11, 2006 at 2:06:03 AM UTC+1, Premise Checker wrote:
> Todd reviews Yukio Yokoyama's Beethoven Cycle
> Stereophile Forums: Beethoven's Piano Sonatas; Or: A whole lotta cycles!
> in
> http://forum.stereophile.com/forum/showflat.php?Cat=0&Number=4414&page=0&fpart=all&vc=1
> by Todd#4468 - 02/09/06 12:47 PM (199.43.32.68)
> Yukio Yokoyama
> When BRO first carried Yukio Yokoyamas 12-CD set of Beethovens
> complete solo piano music, I passed. Never heard of the guy, I
> thought. Nor had anyone else. Why risk sixty whole dollars? Well,
> after finishing my first Friedrich Gulda Beethoven cycle and while
> my Yves Nat cycle was on order, BRO got the set back in for $24.
> $24! I saw no reason not to buy. I figured, worse case scenario,
> hes no good, and I can trade this bad boy in for at least what I
> paid. Best case scenario, I find an undiscovered gem. So I went for
> it.
> Being the curious sort, I looked around the net after I had already
> ordered to see if I could find any comments on Mr Yokoyamas
> artistry, with a keen interest in his Beethoven. English language
> information and reviews are few in number. About the only thing I
> could find was a positive and perplexed review of a Chopin recital
> that Sony let languish in the can for years. The reviewer pondered
> why Sony would let such a fine recording languish. That was a good
> sign. But I was still a bit wary. Chopin, great though his music
> undeniably is, is not Beethoven. Perhaps there is a reason why Sony
> let the young Japanese pianist record almost all of Beethovens
> piano output (hes also laid down a piano concerto cycle!), Chopin,
> and Liszt (he has recorded the Transcendental Etudes, as well)
> without engaging in a global PR blitz; perhaps Mr Yokoyama is a
> Japanese artist for the Japanese market, displaying traits that
> only the Japanese might admire fully. I wholeheartedly reject such
> notions, mind you: fine artists are fine artists, period. A&R folks
> sometimes see things differently, though. Still, there was a
> chance, and a pretty good one, of Yokoyama being a provincial
> artist not really capable of holding my interest.
> That he most certainly is not. The young Yukio he was born in 1971
> is a talented pianist who studied both in Japan and France,
> graduating from a conservatory in the land of cheese and whine, er,
> wine, at the age of 19. He studied with a number of French pianists
> (of course), including Vlado Perlemuter, so he should have learned
> something. He did. Like my favorite French pianist Robert Casadesus
> Yokoyama does not play in an overtly romantic way. He can and does
> let loose, but his overall approach is a more measured, more
> precise, more architectural approach than a heated, of-the-moment
> one. Generally, thats what I like. (There are always exceptions, of
> course, like, oh, say, Annie Fischer.) He also has a fine
> technique, but he often chooses not to display it for the sake of
> displaying it. No, he deploys it in the service of the music.
> Anyhoo its time for the Beethoven. These twelve discs of music were
> recorded in eighteen days over a nine month period in 1998 and
> 1999, so Yokoyama got to lay down his initial thoughts on the works
> while still very much a young man. Thats not a bad thing, and with
> Guldas Decca cycle soon to be mine, I figured it would be
> worthwhile to hear how another young man, a half-century removed,
> plays the same music. He plays it well. Well, at least in what I
> listened to today. Rather than present the works chronologically,
> the twelve discs comprise all-Beethoven recitals, much as Claude
> Franks cycle does, so that meant that I needed to disc hop to
> obtain my objective. The set opens with Op 2/1. (It ends with Op
> 111, thus mirroring Mr Franks layout to a degree.) What a fine
> opener! Yokoyama is measured and restrained and presents everything
> lucidly, cleanly, and with just the right degree of tension, proper
> tempi, and enthusiasm. To an extent, this feels like a by-the-book
> recording: everything is obviously thought out and well-planned
> and, if perhaps not as spontaneous as some, it is still completely
> satisfying. He may lack Annies passion, and Guldas pointed, groovy
> style, but Yokoyama offers a peachy opener. If only the next two
> are like this, I though to myself, Ill be a happy man.
> Theyre not. Theyre better! The second sonata is infectiously
> buoyant and upbeat, Yokoyama relishing the alternating runs and
> delivering them with nary a note out of place. Each movement is
> joyously dispatched, but in a carefully crafted sort of way. While
> hes a young man who very much enjoys this music (or at least that
> how it seems), he never lets his fingers get ahead of his mind or
> the music. All serves the greater good. Even better, the third
> sonata is just a joy. The opening is most certainly allegro con
> brio, and a few times Yokoyama gets to show what he can do as he
> lets some of the quicker, more virtuosic passages fly though always
> under precise control and he unloads some big-boned, big scale
> chords, too. The Adagio is slow, heavy-ish (but not ponderous),
> and, if perhaps lacking the probing depth that some older, more
> experienced pianists can bring to it, it nonetheless makes one
> contemplate the music, not the pianist. The scherzo and finale are
> both joyous and a joy to hear. So, the first three works are down,
> and a fine set they are. As a set, it does not match Fischer or
> Gulda, but it easily bests Nat, not to mention a number of others.
> Its really superb. One thing of note is how unnotable much if it
> is. Yokoyama does not adopt especially fast tempi, nor does he
> favor slow ones. Theyre just right. His dynamic range is wide but
> not amazingly so. His control is exemplary, not flashy. His tone is
> pretty straight-forward, favoring neither a lean, crisp sound, nor
> a rich sound, nor a heavy sound. Its middle of the road, but
> blessedly so. In other words, Yokoyama is largely
> eccentricity-free.
> Moving along finds a remarkable Op 7. Of the three new versions Ive
> heard over the last few weeks, this is the best. Yokoyama adopts a
> flowing, graceful overall approach, bringing out the
> quasi-Pastorale feeling that I like. He still accents a few notes
> and chords sharply, but it all blends together in a most wonderful
> way. All the movements are cut from the same cloth, Yokoyama
> choosing to emphasize their coherence and unity as opposed to
> accentuating the differences. While this sonata can sometimes seem
> a bit long and Yokoyama brings his in at over 28 here, its all over
> before one knows it. When the last notes rang out, I was in minor
> disbelief. How? How could it be over so soon?
> The Op 10 works open with a slight decrease in quality. Sort of.
> Yokoyama opts for a not-too-fast opening, which is to say, a
> slow-ish and decidedly dramatic opening, an approach he applies to
> the opening of the third movement as well. In this sonata he allows
> himself more noticeable interpretive leeway, choosing to present
> this C minor works as a preview of the next C minor work. The outer
> movements can sound a bit heavier than ideal as a result, but the
> middle movement suffers not one bit. Indeed, I enjoyed how hed hold
> on to a chord just a smidgeon longer than Im used to, allowing the
> next melody to begin before finally releasing. A number of
> similarly nice touches can be heard throughout. Its not bad not at
> all its just different from what Im used to. The second sonata is
> more to my liking, Yokoyama taking a lighter, brighter approach.
> Something interesting happens, though: he opts not for quick speeds
> some of the playing is deliberate, but in a decidedly positive way
> but his, well, relaxed and joyful approach is irresistible. The
> final movement is most intriguing. It opens slowly, or at least
> slowly compared to some other versions, but each time the main
> theme is repeated, Yokoyama picks up the pace a little until he
> arrives at a nice pace and keeps it to the end. He chooses not to
> play the repeat, but it works. The final sonata is similar in
> overall approach, with especially and effectively buoyant and sunny
> outer movements flanking some more serious inner movements. The
> second movement is definitely played Largo and Yokoyama plays in a
> fashion that seems to portend that he will do very well in the late
> sonatas. The serious, slower tone carries over to the third
> movement, rendering it less than perfect, but its still enjoyable.
> As a set, Yokoyama does very well, though the slight inconsistency
> good first, stellar second, near-stellar third prevents me from
> placing him in the upper echelon. Hell have to settle for merely
> superb.
> The first of the big name sonatas comes off reasonably well. First
> off, this is a young mans take, emphasizing athleticism and
> quickness rather than depth and pathos. If you hanker for the
> latter, this will probably not satisfy. His opening chord shows
> that he means business its strong and he holds it a while. His
> fingers handle most of the more challenging parts of the score
> rather well, and if he does suffer a notable memory lapse in the
> first movement, it is easily and quickly forgotten. The middle and
> closing movements both support and further his view on the work,
> and he ends very strongly. Okay, its not the best, but in the Op 13
> the competition is incredibly stiff and comes from the greatest
> pianists, so theres not much shame in a young man not rising to the
> top.
> I began the two Op 14 with high hopes, given Yokoyamas take on the
> earlier works. The first sonata opened a little too slow for my
> liking, but that hardly precludes a given performance from being a
> good one. Yokoyamas playing is alert, nuanced, and colorful
> throughout the first work, but its also just a bit cool and
> detached. Its not that he doesnt like the piece, or so it seems,
> its just that he doesnt bring out the lightness I like. Even so,
> his clean, uncluttered, unaffected playing made it a pleasure to
> listen to. So I expected the second sonata to be similar. Instead,
> I heard a performance that knocked my socks off! Yokoyama is not
> quick. Not at all. He takes a measured, relaxed approach, and he
> plays just beautifully and with a splendid tone. But what really
> makes this sonata a success is his almost effortless, gliding feel.
> He knocks out the notes alright, but theres a grace and subdued
> happiness throughout. Its poofy, cloudy playing, though everything
> is clear. Nonsensical, perhaps, but thats how it sounds. The second
> movement is as if from a dream. The finale is light, chipper, and
> clever. Its all so wonderful that I never wanted it to end. But it
> does. No matter this ones getting played again as soon as Im done
> with the whole cycle. (I may even be naughty and sneak a repeat
> in.) So, the Op 14 is a tale of two sonatas: one very good; one
> great.
> Some readers may have noticed that I said Mr Yokoyama suffers a
> memory lapse in the Pathetique. Thats because, despite no mention
> in the pitifully scant liner notes, the performance sounds as
> though it were recorded live. Many of them do. Id almost be willing
> to bet that the whole set is. How else to accommodate so much music
> into eighteen working days? There are some tell-tale signs: some
> coughing here and there, as well as some other extraneous noises.
> No applause ever intrudes, but careful editing and obedient
> audiences can account for that. The sound on all of the recordings
> thus far is a tad on the bright side, and lower-register weight is
> a bit lacking. Everything is mostly clear, a few passages where
> sound becomes a bit congested notwithstanding. (Such passages seem
> to point to live recordings, too; surely no Sony engineer would
> allow this to pass in the studio.) The piano used (Im betting a
> Yamaha) is not ideally voiced, producing muted color and a bit of
> clang from time to time. I dont think its Yokoyama the sound occurs
> at seemingly random times, and not always during the loudest
> passages. Minor misgivings aside, this cycle has started out in a
> most promising way. And this time I have all those tasty variations
> and bagatelles to look forward to too. Perhaps Ill listen to some
> more tomorrow, who knows?
> ----
> Moving on to the Op 22 finds a return to the style Yokoyama
> displayed in the first sonata. His approach, at least for the first
> three movements, strikes me as an almost textbook approach: adhere
> to the score; dont engage in any wild gestures; dont indulge any
> personal desires. If that reads as a damning comment, its not.
> Yokoyama keeps everything under control, not indulging in virtuoso
> showiness and not allowing any one element to dominate another.
> Where the piece should be jolly and swift, it is. Where it should
> be slower and more contemplative, it is. In the fourth movement,
> Yokoyama does add a dash of individuality. He makes the piece sound
> stormier than I would have thought, giving us a little taste of
> sturm und drang. If ultimately this is not a top contender, the
> straight-forward style still allowed me to revel in Beethovens
> writing.
> Op 26 fares better. Here, Yokoyama is more individual from the
> start. He plays the variations of the first movement with enough
> distinction to make the listener want to hear what hell do next.
> The Scherzo is dispatched with taste and drive in perfect
> proportion, bridging nicely to the funeral march. Yokoyamas Funeral
> March is superb. Its funereal in feel, but he never resort to
> extending or distending anything, and he refrains from exaggerated
> dynamics in making his points. The finale is played quickly and
> stylishly, with Yokoyama playing a bit more with phrasing and using
> a discreet rubato that blends in well enough. Again, this doesnt
> rise to the top of the heap, but it is sufficiently good hell, its
> better than merely good to insure it will be played again. Perhaps
> in a comparative review? Who knows.
> The two Sonatas quasi una fantasia represent perhaps the weakest
> performances of the set thus far, though at least one offers a
> glimpse of something that may prove to be special. That occurs in
> the first of the two sonatas. Yokoyama takes a basically slow
> approach where even the opening and closing portions are on the
> slow-ish side, though with moments of swiftness. The core of the
> interpretation lies in the slow middle portion. While the second
> movement is labeled Allegro molto e vivace, Yokoyama plays it
> Allegreto at best. Artful use of the sustain pedal combined with
> strongly sounded notes create a wonderfully dreamy atmosphere, and
> if it is all on the noticeably individual side, it is nonetheless
> effective. The transition to the Adagio con espressione is
> flawless, and the atmosphere and mood are maintained. When the more
> rapid closing portion of the work arrives, it seems a bit out of
> place. Yokoyama has much to offer, but I feel that his
> interpretation is a work in progess. His approach doesnt quite jell
> yet (or didnt when he recorded it), but perhaps it will in the
> future. If so, I hope to hear it. The Mondschein comes off as run
> of the mill. The opening is solemn enough, the second movement
> (relatively) buoyant enough, and the third movement quick and alert
> enough, though a brittle and metallic sound appears in the louder
> passages. Time to move on . . .
> . . . to a superb Pastorale. I had a sneaking suspicion that
> Yokoyama would do well here given his outstanding Op 7, and he does
> not disappoint. The whole thing has a nicely laid-back feel, though
> it never threatens to slide into lax boredom. Yokoyamas fingerwork
> is clean and articulate, and judicious use of the pedals and
> immaculate timing allows one to savor each lovely melody. The young
> pianists sense of rhythm, while perhaps not as accomplished (and,
> frankly, stunning) as Guldas, lets the whole thing just cruise
> along while never becoming the dominant trait. In the third
> movement, Yokoyama favors some more pointed playing, but he never
> forgoes a nicely, well, pastoral feeling, and allows a nicely
> reined in display of what he can do. And what he can do is shown
> off best in the final movement. His utterly tasteful use of rubato
> allows him to start off with a few slow notes just to have them
> segue flawlessly to more rapid, though never too fast key tinkling.
> The very end is played with just the right dash of impressive
> virtuosity, and the whole thing comes to a nicely eventful
> conclusion. Really, this is a peach of a recording, and one of the
> strongest of the cycle thus far.
> So far Yokoyamas cycle displays a bit of variability. Since every
> other cycle does, too, thats probably a good sign. He tries some
> unique things and has some original ideas, and if they dont all
> work equally as well, that just means theres room for improvement.
> ----
> The Op 31 sonatas started in a most promising fashion. Yokoyama
> takes the opening movement swiftly, with delectably light
> fingerwork. Everything is generally clear and upbeat and just plain
> fun to listen to. A few times he contrasts some passages with
> simplistic dynamic variation everything is really quiet and then
> really loud but that minor misgiving aside, he does a fine job in
> the opener. The second movement finds the young pianist putting his
> stamp on the work. He opens with a lovely trill, and he implements
> a tasteful and noticeable rubato, with subtle yet marked tempo
> changes altering the meaning of some passages, and his use of some
> personal pauses and hesitations just adds to the overall appeal.
> During a few passages, his left hand plays a waltz like rhythm (as
> in inspired by Chopins waltzes) to support the right hands
> melodies. While successful on its own terms, some may be less happy
> with it. The final movement is poised and meticulous, and loaded
> with charm. Yokoyama plays extremely well, and ends in dazzling
> fashion. This is definitely on the light side, interpretively, and
> some may want something heavier, but its quite good on its own
> terms.
> Decidedly less successful is the Tempest. Here Yokoyamas youthful
> and apparently not fully worked out ideas dont work. He opens the
> piece tentatively, and not until around 45 in is there any
> substance, which isnt necessarily bad, but what follows certainly
> is not that good. As in the first of the bunch, Yokoyama opts to
> use stark dynamic contrasts to make his point, here taking things
> down to a mere whisper at one extreme and up to a hard fortissimo
> at the other. To accentuate the pianissimo playing, he slows way
> down at times, almost and perhaps on occasion losing the musical
> line to short-term effect. It just doesnt work. The finale is
> better and more standard in conception, with dramatic playing, and
> Yokoyama does play with some urgency, but here, too, he seems to be
> trying a bit too hard. At least he tries something individual, I
> guess.
> The third sonata lies midway between the first two, qualitatively
> speaking. The opening of the piece is a decidedly low-voltage
> affair, and at about 120 in Yokoyama seems a bit out of sorts,
> though he recovers nicely enough after that, infusing some joy and
> humor into the proceedings, punctuated by some hearty low notes.
> The second movement is jauntier and generally more successful. Here
> Yokoyamas individuality pays off a bit more. The third movement
> comes off as light and graceful, and the finale is both forceful
> and playful, as well as extremely well done. But taken as a set,
> this most crucial batch of sonatas cannot be rated a complete
> success. The second is not good, and only the first really stands
> up to the competition. This more or less precludes Yokoyamas cycle
> from being a great one to my ears, but the fine music making that
> came before surely must show up again, redeeming the cycle. Right?
> The two little Op 49 sonatas do come off well, both being played
> with the right blend of beauty, charm, with, and seriousness, and
> the second movement of the second sonata does evoke the glory of
> the Septet. But these are merely stopovers until the bigger works
> arrive.
> When the first of those bigger works arrives, it seems a harbinger
> of, if not doom, then at least slight disappointment. Again, some
> of Yokoyamas ideas do not sound fully worked out. The work opens in
> a measured way, definitely avoiding the quickness of some, while
> never slipping into sluggishness. It seems a bit contrived, though.
> During the first slower passages, Yokoyamas playing takes on a
> ruminative feel, but again, its somewhat contrived. As he works his
> way through the piece, Yokoyama displays an ability to alternate
> tempi fluidly and with panache, but sometimes his transitions arent
> musically successful. The second and third movements are presented
> as one track in this recording. The opening Adagio section is
> played very slowly to the point where the work almost doesnt flow.
> While Yokoyama lavishes attention on each note and chord, it sounds
> a bit contrived. Again. The Rondo portion opens quite tenderly, and
> then swells into broad, powerful playing, although the price is
> paid when one hears a bit of steel. At about 7 in, Yokoyama lets
> loose with a display of virtuosic pianism that, while impressive in
> itself, doesnt completely further the work. So, all told, this is
> another mixed bag. My hopes for the set started to wane.
> Fortunately, the next five sonatas assuaged my concern. The Op 54
> sonata comes across as a deft mix of slightly quick and decidedly
> lyrical playing. Yokoyama doesnt hammer home any points, and he
> doesnt rush; he lets everything unfold in a most pleasing manner.
> His tasteful rubato and nimble fingerwork add to the allure. No,
> this is not the best around, but I can easily envision myself
> listening to it many times.
> As for the Appassionata, well, Yokoyama very much plays a young
> mans version. I suppose that shouldnt be too surprising. His sound
> is big, bold, and definitely passionate, but in a slightly
> restrained way. He doesnt want to let it all hang out. He wants to
> and does revel in the showier parts of the music, and to his credit
> he never goes overboard. The fast passages can at times be
> excitingly fast. Hell attack a crescendo with satisfying intensity,
> though he never sounds out of control. (Perhaps a bit more fury
> would be nice at times.) Yes, its a good opener. The second
> movement acts as a nice bridge, with Yokoyamas playing taking on a
> slightly plaintive tone, and it possesses an anticipatory air about
> it. Thats because hes anticipating the close. Yokoyama tales it
> fast and revels in some of the showy parts. Energy and intensity
> abound, but this remains a young mans conception, without the depth
> of better performances. That written, Ill take it!
> Both the Op 78 and Op 79 sonatas come off very well. Yokoyama
> treats them as substantive, meaty pieces, not just brief little
> stopovers. Common to both is a strong, insistent playing that makes
> them sound close to the surrounding works. The 79 benefits from
> tightly played movements that really make it sound all encompassing
> despite the brevity.
> The Les Adieux concludes the winning streak, and ends another
> session on a high note. Yokoyama opens the work in a strikingly
> disconsolate way, but then erupts into more accessible playing as
> appropriate. This is quite the goodbye. The second movement broods
> and is haunted by a pervasive melancholy. Pianist and composer both
> seem to be looking back, weighing what has happened, and what is to
> come. When the return arrives, it is with a veritable outburst of
> joy. Everything sounds exultant, but never tips over into
> sentimental gushing. Some of Yokoyamas playing can sound a bit more
> mannered than ideal, but it really hinders nothing. This is a fine
> recording.
> So, another big batch down, and it has become clear that Yokoyama
> is variable. At his best, he is remarkable. At his worst, while hes
> never bad, hes still got some things to work through before his
> performances seem complete and unified. The good definitely
> outweighs the bad, though. I wonder what the late works will bring.
> ----
> Though the prior listening session ending strongly, I approached
> the Op 90 sonata with a mix of eagerness and trepidation.
> Yokoyama's shortcomings are obvious, and the late works can
> demolish a pianist, yet his handling of the five immediately
> preceding works seemed to bode well. Perhaps not surprisingly, the
> results are mixed. Yokoyama plays the piece well technically, and
> doesn't succumb to a false need to present the work as interminably
> profound, yet he is a bit too shallow. He opens strongly, with some
> striking chords to grab one's attention, and the he softens up a
> bit, with a nicely varying tone. But where's the metaphysical beef,
> as it were? Well, the closest approximation comes in the second
> movement. While the opener is well played but shallow, the second
> movement finds Yokoyama offering an extended essay in beauteous,
> almost ethereal playing, extending the movement perhaps a bit
> longer than ideal, but nonetheless providing one with a ravishing
> aural experience. I'd be lying if I said it offered the depth and
> insight of some other players, and a half-so-so, half-beautiful
> sonata is not my idea of a masterful reading. Still, I'm glad to
> have heard it.
> The 101 is likewise a mixed bag. Again, Yokoyama plays very well,
> but it is all too superficial. The first movement contains a soft
> but ultimately manufactured sadness at times, that while nice to
> listen to, is ultimately too bitterly saccharine to satisfy. The
> second movement finds the young protagonist somewhat at sea. He
> plays the notes, sure, but he sometimes seems to be doing no more
> than that. Sections seem disconnected, the flow is interrupted. The
> last two movements are merged into one track here, and it all
> blends together as a whole, I suppose, but even here, with some
> energetic, invigorating playing, all is too manufactured.
> Things just get worse with the Hammerklavier. Yokoyama was just not
> ready to play this work when he recorded it. The problems are
> evident from the start. He takes the opener at a pace he seems to
> handle with ease, yet his overall conception is shallow and small.
> About 9' in, he slips a bit, and then for a minute or so he seems
> adrift, unable to get back into the groove. The second movement
> doesn't really improve things. While no major faults mar his
> playing, he still doesn't play with 100% assurance and focus. The
> great Adagio continues on the same way. While generally desolate
> and cool - which is fine by me as an overall take - he still has
> some trouble holding the musical line, and all while offering
> little insight. He also plays the movement slowly, and while
> slowness can make this piece of music sound more profound, that's
> not the case here: at times it just sounds slow. At times, the
> whole thing takes on a quasi-episodic feel that annoys more than
> enlightens. The finale offers the best playing in the work. After
> an appropriately poised open, it's off to the races, with Yokoyama
> flying across the keyboard. Unfortunately, the speed is not
> accompanied by notable contrapuntal clarity. So, let's just say
> that this isn't likely to be played a lot around these parts.
> After three disappointments in a row, I figured the last three
> sonatas were bound to be less than exemplary. While they are that,
> they are also far better than I had anticipated. The youngster
> redeems himself! The 109 opens gracefully, and the first cascade of
> notes is light 'n' feathery. Careful underscoring and tasteful
> rubato helps things along. The second movement is bold, assertive,
> and direct, offering a nice contrast to the opener. The final
> movement opens similarly to the first movement. Yokoyama's nicely
> graded tone and gently nuanced (some may even say precious)
> approach, complete with tasty little arpeggios, works rather
> nicely. The middle section crescendo is marvelously controlled and
> meticulously played. While I'd hardly characterize the
> interpretation as particularly deep, Yokoyama's thoughtful approach
> makes it very attractive, indeed.
> Ditto the 110. While it opens a tad quicker than seems the norm,
> and moves along perhaps too quickly overall, Yokoyama's playing is
> stylish, with his finely graded tone and seamless dynamic
> transitions make it a joy to listen to. His stabs at those
> ultimately indefinable traits that characterize late Beethoven -
> titanically meaningful chords, trills bursting with spiritual
> strength, etc - are commendable, but not quite up to the best.
> Again, he's a bit superficial. The second movement feels pretty
> much the same way. The third movement opens with a suppressed cry
> for understanding, followed by a familiar, fatalistic admission
> that it won't, it can't come, so fugue it! Which Mr Yokoyama gladly
> does. He dispatches what follows nicely enough, and the big chord
> buildup is well done, too: he starts quietly and gently rises to a
> loud but not blaring fortissimo loudness before proceeding on.
> Okay, the third movement is shallow, too, but I still rather fancy
> the recording.
> The 111 is perhaps the best performance of the late sonatas.
> Yokoyama opens the work firmly, displaying his strengths in superb
> fashion. Ominous rumbles precede the darkly hued hammering chords,
> and if he is not crystal clear throughout the opening movement,
> like, say, Gulda, he still offers more than enough to warrant
> paying very close attention. The second movement opening may be
> slightly overdone, purposely trying to play up the profundity, but
> any damage is negligible. To the end, the tempi are very well
> judged and Yokoyama opts for an eccentricity-free approach. Close
> attention is required to get the most out of this recording: each
> moment, each phrase, each idea is clear and loaded with meaning,
> but all can be viewed as a bit underplayed when compared to some
> other recordings. No, Yokoyama cannot match up to the greats - I'll
> leave it to you to pick 'em - but he does very well. As an added
> bonus, the sound for this recording is superb: clear, weighty,
> warm.
> Wrapping up the late sonatas means that I must try to figure out
> where he belongs along the qualitative spectrum. There's no doubt
> that he's just not up to the best out there. Annie Fischer, Wilhelm
> Kempff, Artur Schnabel, Friedrich Gulda: all offer far more than
> the youngster. I suppose I'd say this about on par with
> Jean-Bernard Pommier's set overall. While offering many good
> things, and some extraordinary things, his shortcomings are just
> too significant to say that he is a great Beethovenian. Of the
> three sets I've recently acquired, this is the least satisfying
> overall. Perhaps more important than what Yokoyama accomplishes is
> the promise he shows. He was only in his 20s, after all. Perhaps a
> decade or so from now he can revisit some or all of the works and
> lay down even better interpretations. I hope he gets to.
> Since Yokoyama recorded more than the sonatas, I guess I should
> cover those works, too. I'll keep it brief. Despite the labeling,
> this set does not include all of Beethovens solo piano music.
> Rather, it includes all of his solo piano music with opus numbers.
> So, theres no Für Elise (shucks), nor some well known variations,
> and so on. But there is plenty other piano goodness on tap.
> Overall, Yokoyama does a fine job, and the earlier works fare
> relatively best. The Op 33 Bagatelles are very good, with the
> delightful Allegro ma non troppo played super-fast. (Id love to
> hear Yukio play Chopins Third Scherzo!) The Opp 119 and 126 sets of
> Bagatelles both come off quite nicely, as well. The Op 34
> Variations are played reasonably quickly and strongly and make for
> a fine diversion, the Op 76 Variations are superb, and the Op 77
> Fantasy, while okay, I guess, isnt quite fantastic enough for me.
> (Rudolf Serkin rather handily outpaces the newcomer, but thats to
> be expected.) The Eroica Variations are fine indeed. Each of the
> short variations holds ones rapt attention, and the concluding
> fugue is superb, if perhaps a bit brittle sounding at times. The
> two Op 51 Rondos are superbly and beautifully played and deserve
> more air time, and the Op 89 Polonaise, while not of Chopin
> quality, is nonetheless good. The ever delightful Rage over a Lost
> Penny is played in pure virtuoso fashion and thrills in so far as
> it can. That leaves the Diabelli Variations. While I have few if
> any recordings of the other works, Im more familiar with this work.
> Yokoyama suffers the same shortcomings here as in some of the late
> sonatas. At times, he seems as though at sea. Hes not inside the
> music and it shows. Some of his playing is technically dazzling,
> but he hasnt much to say. For a modern recording with some insight,
> Piotr Anderszewski delivers the goods, and my standard bearer still
> remains Rudolf Serkin, and quite comfortably at that. (Must be the
> cricket accompaniment.) There are some fine things in all of these
> works though. Of course, its the sonatas that matter most, but a
> little extra something is nice.
> Overall, I'm glad I bought the set, and at the BRO price it should
> be considered by anyone interested in hearing a different slant on
> Beethoven. Hell, even at the Tower price it's worth it. But it
> ain't the best out there.