Let me nail my colours to the mast and say that, although I am a convert to
period instrument performances, I have never been a fan of fortepianos,
especially in music after Haydn. Even luminaries such as Melvyn Tan, Andreas
Staier and Malcolm Bilson, superb players as they are, have not been able to
make me enjoy hearing famous sonatas played on an instrument that at best
sounds like an out-of-tune pub piano, with clattering keys and zero
sustaining power.

So my surprise at the quality of the present disc is such as to make me eat
my words. I had realised that Volume 1 had some very positive reviews, not
least in these columns, and I have been an admirer of Brautigam's fiery,
positive playing for some time. However, it's fair to say that my breath was
taken away by the mixture of superb instrument, vital, energetic playing and
crystal clear recording. First mention must be of the piano, which is one of
the real stars of the show. Maybe it's because it's a copy, using sturdier
modern materials, but action and pedal noise are virtually inaudible. The
tonal range also seems far greater than anything I've experienced with these
types of instrument before; the top has a bell-like clarity, mid-range is
nice and even and the bottom end is far richer than I expected, allowing
Beethoven's daring harmonies and thunderous bass lines to jump out of the
speakers with astonishing impact. The tuning and regulation appear spot-on,
with the piano taking everything that Brautigam (and Beethoven) can throw at
it.

All this would not really matter, of course, if the playing were limp,
anodyne or just plain dull. No chance. These Op.2 sonatas were written for
the young virtuoso pianist/composer to show off his gifts and Brautigam
relishes the challenges they offer. Right from the start of the F minor,
where Beethoven takes the Haydn-like upwards arpeggio and turns it into a
gesture of defiance, we are aware of a new kid on the block in Vienna,
someone who demands to be heard. Brautigam understands this, spitting out
the line and its answer with an almost venomous glee. His technique is
phenomenal, no doubt helped by the lighter keyboard action, so that even the
most hazardous passages, such as the notorious broken octaves in the A
major's first movement (1'19, track 5) are totally accurate. Slow movements
often suffer with a period piano, but not here. Brautigam chooses sensible
speeds, keeping a flow and momentum without losing poetry, and the piano
really behaves itself for him, with plenty of even tone and resonance.
Finales have rhythmic buoyancy that is simply invigorating, as in the
wonderful Rondo of the C major, where Brautigam's refusal to rush lets the
tricky embellishments be incorporated with relative ease. I have at least
four complete cycles of the Beethoven sonatas (Jando, Goode, Barenboim (EMI)
and Kempff's mono cycle) and have always loved these early Op.2 pieces, but
I have to say even this illustrious company has not bowled me over in quite
the same way as this BIS disc. I agree with Michael Holden's Observer review
that after the fire and brimstone of the Op.2s, the two little sonatas
tucked away at the end are almost an anti-climax. Almost certainly written
for pupils to play, and hence sounding innocent and technically undemanding,
they still offer delights in the right hands. I do love Brautigam's
straight-up simplicity, letting the music do the talking, which is not to
say it's ever boring - the delightful finale of Op.49 No.2 has never sounded
so lilting or lyrical.

If future discs keep up the standards of the first two, this cycle will be
one to be reckoned with. At over 81 minutes it's exceptional value anyway,
but the playing is of star quality, and even the quirky artwork is being
followed through. Go on - rediscover your Beethoven sonatas!

Tony Haywood

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Dear Tony Haywood,
I read with interest your very pleasing review of Ronald's
Beethoven, then I found out you're a technician, which makes my
day! The tuning stays pretty well in the church, but I do try to
stay on top of it. The materials I use are from
the same region, indeed for the spruce, from the same forest that was
known to be preferred by the Viennese trade from 1790's on. The
hammers are scrupulously duplicated in species of wood (unsteamed
pear for shanks, linden for hammer heads ), I go to great lengths to
measure and reproduce the mass and elasticity of the hammer/shank
assembly. The soundboards of my Walter and My Graf are replicas of
the examples I was fortunate to measure, where the Walter rib
profiles are measured every 3cm along their length, giving varying
heights which I reproduce within a tolerance of 0.2mm. As you know,
soundboard dimensions and hammer proportions are as hand in glove,
and my best sound has come with scrupulous adherence to the numbers I
took down, with careful note of the wide grain early growth ribs and
the board itself from wood not so very close grained, but carefully
cut on the radius, medullary rays in abundance. The soundboard
thicknesses are exactly as I measured, where I made a grid measuring
every 8cm along the x and y axis. Thanks for a kind review,
best of luck, and hope to see you in central Europe sometime. You're
most welcome to visit when you have time.

Best regards,

Paul McNulty