Harold Bauer plays Beethoven's Appassionata Sonata (1927)

British pianist Harold Bauer's May 10, 1927 RCA Victor recording of Beethoven's Piano Sonata No.23, the Appassionata, set down at the label's Camden, New Jersey studio on a Mason & Hamlin piano. The transfer presented here was effected by Tom Jardine, to whom all thanks, using records from his personal collection.
Bauer was a superb artist with an unostentatious style and a ravishing full-bodied sonority. His interpretation of this ever-popular sonata eschews bombast and superficial displays of virtuosity, emphasizing instead the musical content - there are plenty of fireworks but always in the context of the music and without any harsh edge to his sound. With his velvety tonal palette, refined dynamic gradations, exquisitely clear voicing, and fluid phrasing, Bauer delivers a noble and majestic account of this masterpiece.
For more about Bauer's life and artistry, a feature I prepared a few years ago:
www.thepianofiles.com/harold-...
And another feature that showcases his film and radio appearances:
www.thepianofiles.com/harold-...
If you wish to support The Piano Files, please consider membership at my Patreon page: / thepianofiles

[@joseluizfrancis-cresciment6747]

In addition to being digitized with high quality, we are surprised to hear an excellent reading of this sonata. Good job, congratulations

[@chazinko]

I never tire of Harold Bauer's artistry - thank you for sharing this great rendition!

[@ThePianoFiles]

Same here - SUCH a satisfying pianist in so many ways!

[@pianomaly9]

Again, this time heard more of Bauer's elegantly shaped phrases "rhyme" with each other, and slight tempo adjustments intelligently placed. Exceptionally beautiful middle movement, the 32nd note variation taking flight with a wonderful unconstrained airiness.

[@joseluizfrancis-cresciment6747]

Incrível.. Gravação remasterizada com muita fidelidade

[@ladivinafanatic]

One of the greatest Appassionatas!!!!!!!!!!

[@MrInterestingthings]

Really. It passes by like water down a Kensington lane . Absolutely nothing and I do mean NOTHING happens .

[@user-qc9pd4oi7e]

This performance of Bauer's is the best Appassionata Sonata I have ever heard. The playing style is fresh and there is nothing incongruous about it. In Japan, before World War II, Mr. Araebisu Nomura, famous critic in his era, praised Bauer's performance in his famous book.

[@remomazzetti8757]

A performance of this Sonata has recently been posted on KZbin with Etelka Freund giving an outstanding interpretation.

[@ericmendelson4597]

Absolutely beautiful performance.

[@Sofronichrist]

Just gigantic! A magnificent artist, as demonstrated by his stratospheric Brahms Sonata Op.5, of dizzying formal beauty and depth. Thank you so much for this gem!

[@Kevin-gr3ov]

Thank you for posting this wonderful performance which I've never heard before! It gets to the essence of the music wonderfully! And with a consistently beautiful sound. While that's not always a virtue in Beethoven, it certainly is here. Like Solomon, Hess, Serkin, and several others, his first movement is a real Allegro assai. On the downside, he leaves out several repeats including in the slow movement and the important one in the finale. That could be a result of the 75 rpm time limits although I know this was common in that era. I believe in doing all of Beethoven's repeats. He also ignores the "ma non troppo" in the Allegro finale. He's not alone in that, in fact he's probably in the majority. Bauer's Liszt Db Etude, "Un sospiro" has always been my favorite recording of the piece! Not to mention his Arensky Waltz with Gabrilowitsch! Both of those are magical! I also love his autobiography, entitled "Harold Bauer: His Book". I've often quoted his advice on technical development and his analogy between walking a tightrope and playing a continuous motion fast piece, one step at at time, with each step being conscious in your mind. Exactly right!

[@darjeeling6432]

I was spellbound by its simplicity. Thank you for sharing this precious gem.

[@sirsamfay99]

He is one of my top five favourite pianists of all time. A great pity so many other artists were on the HMV list to make records that were favoured before Bauer. His autobiography is a great read and a very interesting insight into late Victorian London life as Bauer grew up.

[@ThePianoFiles]

I LOOOOOOVE his book - so interesting in SO many ways!! And I agree that it's a shame that others were favoured over him in the studio - I'd love to hear MUCH more by him!

[@pianomaly9]

Thanks to you and Tom Jardine for your work on this selection, the "Pashionarter" as Bauer reports in his book that it was pronounced in some quarters. Hmmmm.......seems to have provoked some strong and varying opinions. Will have to hear again, the immediate impression is of a finely crafted performance, but does feel as if Bauer can sense the side timings breathing down his neck. The 3rd movt. coda doesn't quite have the shake-you-by-your-shoulders impact it demands.

[@svetlanagrinstein8944]

Привлекает первозданность переживания без излишнего пафоса и философии. Форма 1й части воссоздана целостно и воспринимается как одно яркое мгновение без затянутости и пустот. Время течет свободно и естественно.❤

[@emarel]

Astonishing!

[@jamesmiller4184]

Harry L. Anderson, now deceased veteran scholar, writer and reviewer of all things 'gravicembalo col piano a forte', emphasized occasionally to we privileged visitors that Bauer, in his opinion, was one of the Greater Ones that suffered under-paid attention. Still then in my essence of youth, I'd paid little attention to that. Having now improved in years and insight and lessened in arrogance (some), I have come to understand why Mr. Anderson had stated as he did, and so naturally to agree. As concerning Lhevinne (there was/is only ONE!) H.L.A. stated that, quantitatively he had recorded "inversely proportional to his greatness." if I might have that quote right from memory? Well, I would apply that same to the case of Harold Bauer's leavings as well, in that every one that he left us is to be savored as something truly special, so I suggest. Also, along with Cortot, Grainger, Ganz and Godowsky, Bauer too proved quite the 'company man' for the Aeolian Corporation, for their Duo-Art Reproducing (as actually correctly "Reenacting") piano line. [I ask, have any yet witnessed a piano producing another from it's own self? Upon the Rock of Self Assertion I rest my and Ampico's most solid case. That "Rock" being the following Maxim of Law -- "Obvious truths need not be proved."] Bauer stated that his opportunity to finesse (i.e. correct, edit, add, subtract) his paper records post recording them, was rather like ". . . a sculptor modeling before his clay!" and when giving that thought some sway, I'll be darned if that was not right in that way! Further he went on to explain that, those paper leavings after worked-over were representative of how IDEALLY he would have liked to have played them! Well, well, well and assuming it as-so, how could he be incorrect in the assertion, as speaking of such the-further? Now, do let's listen to the "musicians' musician" expound Beethovenish, upon the great eighty-eight . . .

[@MrInterestingthings]

Really? What is it here that you find so compelling and supreme . I hear nothing but a lot of uninflected fingers .No special voicings, no thoughtful phrasing , no textural differentiation and worst of all no personality whatsoever. I'm glad you think paper -rolls have valuable information to give . Only recently have I begun to hear good details in them but again as Bauer says here they can be doctored to purpose so are they to be trusted. Someone needs to look at Freidheim's disks they need reparations .

[@jamesmiller4184]

@@MrInterestingthings You seem to be outvoted here.

[@johnllewlyndavies222]

Highlight of today👍off to read your article on this pianist

[@johnllewlyndavies222]

If I may say so, the piece on Bauer is excellent, crystal clear, holding the reader throughout.

[@johnllewlyndavies222]

Have you published any books yet?

[@ThePianoFiles]

@@johnllewlyndavies222 thank you so much - no books yet... just articles in magazines and online, as well as CD liner notes. Starting September 2023 I have a new monthly column in International Piano magazine (the first one, out just now, is available online on the Gramophone website for free). So happy you enjoyed my writing!

[@johnllewlyndavies222]

@@ThePianoFiles very much. I will seek out International Piano magazine.

[@svetlanagrinstein8944]

Поразительная организация ритма и теипа. Наше время обезличила свободу в угоду ровности и механистичности.

[@ThePianoFiles]

AGREED!!!

[@berlinzerberus]

Very good, though a bit too little drama in the piano sound. All together it sounds very beautiful.

[@ThePianoFiles]

Indeed, the sound is just a touch too faded... the drama is there but the contrasts are harder to hear.

[@MrInterestingthings]

A second listen did improve things! Imust find his autobiography. NO metaphysical gesturing ,Clarity,solid,unvarying tempi(BORING!!!) was this man's thing obviouslyFunny that Gabrilowitsch's playing shows so much personality. Slavs can't hide it !That he had an understanding of structure like Schnabel is apparent .His pacing is directed and his control is impressive.The coda again disappoints. The recording devices here really don't show much dynamic sensitivity! He does not underline things he believed evidently that noone should step in front of the music .I don't think this man had anything to say as he doesn't in his Brahms 3rd Sonata ! I think he wakes up in the third movement but still the lack of personality,texture differentiation,dynamic shading leaves this listener dulled .Listen to Gieseking in 1939 also another mind not given to book reading but what a lot of thinking is revealed in his account!I listened twice to his 2nd movement where he actually seems involved but in a country-boy ,unsophisticated sentimental way.1927 and the Mason&Hamlin one takes into account but I've heard hundreds if not thousands of recordings from that time and one can tell from the first minute what kind of musical imagination is playing. Bauer was a classicist his Brahms sonata was recommended to me by a Cortot pupil . It's recordings like this that send me to TODAY'S UNBELIEVABLE TALENTS,GENIUSES at TODAY'S PIANOand Violin COMPETITIONS. Nothing happens here .No textures,no ideas just straightforward.Rubinstein was straightforward but every note is differernt and the man's personality shines like a beam during his 1950's projects.Ive jheard rubinstein's Italian recs from the 1930's .He should have found them all they show whata dilletante he was earlier! A colorless personality .This fast tempo shows a fluent technique and a mind unruffled by metaphysics (not my kinda man,artist or musician) but I hear no imagination ,too little contrast in dynamics . Like Water reminds me of Solomon's someteimes colorless playing. The 2nd movement shows more phrasing,shaped phrases and really not subtle nor sophisticated at all. today's artists have so much more to offer. Yunchan Lim might actually be the most amazing artist ever recordedand he alone might bring some more listeners to the classical world . He is the stuff of fantasy -he can make one believe there are 4 different pedals and 8 hands so sensitive and controlled is each finger .He can bring in a line like its 4000 miles away or make it boom.He can make illusions in sound never thought possible before on a piano ! He is a Foucault a Gilles Deleuze a Whitehead in philosophy compared to all these finger-artists who have proceeded. Radu Lupu's Waldstein is playing that doesn't use outsized dynamics of today's Steinways to show Beethoven's best world.Radu Lupu's op.57 is unique,intelligent in every way and yet gives us the best of both worlds full of today's limitlesss coloring potential w/out like Andreszewsky (in the Diabelli )showing the limitless dynamics of today's Steinways. Was Solomon's op.57 this boring I wonder.