Back in 1994 I interviewed that superb Beethoven interpreter the pianist Richard Goode who said to me, regarding great music, that ‘it has the potential to express powers that lie outside of context, of period, language, translation, to reach something more basic. Moral idealism, for example, which might, through music, be translated into a universal language – without the particulars.’ And without the conceptual limitations and misunderstandings engendered by mere words [as I added at the time]. These words struck me afresh when I finished listening to Murray Perahia’s new recording of Beethoven’s Hammerklavier Sonata (Deutsche Grammophon 479 8353), possibly the most moving account of this cripplingly difficult work ever committed to disc, the Sonata’s kernel – a heart-wrenching Adagio sostenuto – approximating a pained confessional in the way that only Artur Schnabel back in the 1930s managed, and then within the context of a performance that although profoundly well-intentioned was technically flawed elsewhere. For me Perahia inhabits the same elevated plane as Schnabel, Backhaus, Charles Rosen, Brendel, Yvonne Loriod and indeed Goode himself, though for me he climbs just a rung or two further up the celestial ladder. It’s a combination of control and unfettered spontaneity. Quite magnificent.
In the booklet interview with Jessica Duchen, Perahia claims that ‘often Beethoven experiences music as a liberation, reaching towards many things, even making you a better human being.’ Now this is very interesting. Think about it for a moment. Does Beethoven have a moral agenda here? In the fiery opening movement he sets out his main thesis, then there’s a discursive scherzo, the soul-bearing adagio and a vast fugal finale [played by Perahia with sovereign technical command) that surges forwards and brooks no compromise but reaches CLOSURE. That’s it! CLOSURE. The same with the Fifth Symphony – argument, nobility/repose, proud declamation, fierce assertion, triumph and … again, CLOSURE. Quite aside from the presence of chemistry and neuroscience in our make-up, what about the emotional impact of what’s happening, the element of therapy or even counselling that is syphoned through the music? The fact that we’re emboldened after listening to it is surely significant.
And there’s the curative aspect of music, too. Years ago I felt terribly ill and lay on my bed listening to Schumann’s 4th, a particular recording – Furtwängler and the Berlin Philharmonic. At the point beyond the scherzo where Schumann cues a hushed transition that eventually catapults us into the fast finale, the rush of adrenalin suddenly helped me recover. It was a physical happening – one I will never forget. Views, please?