Llyr Williams: Beethoven Unbound

[Ricardo Jimenez]

This is the name of a 12 disc set of Beethoven piano works on the
Signum Classics label that I just finished listening to on Spotify.
The pianist is a 42 year old Welshman. There is a surfeit of riches
with these sets. I always think the last one I've heard is the best
ever.

First and twelveth discs are of sonatas 1-3 and 30-32 but the order of
sonatas is mixed up on other discs. Discs are of concerts at Wigmore
Hall. Besides the 32 sonatas there is also the Diabelli's as well as
other variation sets, Op 33 and 126 bagatelles, fantasies but it is
not a complete transversal of Beethoven's piano music.

I don't engage in comparison listening between sets but I'll give some
impressions of what came to mind while listening while doing other
things at the computer.

Emphasis is more on beautiful tone than excitement but there is a big
dynamic range. Fast tempos but never sounds rushed. Nice sense of
flow, legato, humor where it belongs. Obviously, I liked it.

[h***@btinternet.com]

Post by Ricardo Jimenez
This is the name of a 12 disc set of Beethoven piano works on the
Signum Classics label that I just finished listening to on Spotify.
The pianist is a 42 year old Welshman. There is a surfeit of riches
with these sets. I always think the last one I've heard is the best
ever.
First and twelveth discs are of sonatas 1-3 and 30-32 but the order of
sonatas is mixed up on other discs. Discs are of concerts at Wigmore
Hall. Besides the 32 sonatas there is also the Diabelli's as well as
other variation sets, Op 33 and 126 bagatelles, fantasies but it is
not a complete transversal of Beethoven's piano music.
I don't engage in comparison listening between sets but I'll give some
impressions of what came to mind while listening while doing other
things at the computer.
Emphasis is more on beautiful tone than excitement but there is a big
dynamic range. Fast tempos but never sounds rushed. Nice sense of
flow, legato, humor where it belongs. Obviously, I liked it.

Why is it called "unbound"?

[Al Eisner]

Post by h***@btinternet.com

Post by Ricardo Jimenez
This is the name of a 12 disc set of Beethoven piano works on the
Signum Classics label that I just finished listening to on Spotify.
The pianist is a 42 year old Welshman. There is a surfeit of riches
with these sets. I always think the last one I've heard is the best
ever.
First and twelveth discs are of sonatas 1-3 and 30-32 but the order of
sonatas is mixed up on other discs. Discs are of concerts at Wigmore
Hall. Besides the 32 sonatas there is also the Diabelli's as well as
other variation sets, Op 33 and 126 bagatelles, fantasies but it is
not a complete transversal of Beethoven's piano music.
I don't engage in comparison listening between sets but I'll give some
impressions of what came to mind while listening while doing other
things at the computer.
Emphasis is more on beautiful tone than excitement but there is a big
dynamic range. Fast tempos but never sounds rushed. Nice sense of
flow, legato, humor where it belongs. Obviously, I liked it.

Why is it called "unbound"?

Beethoven as Prometheus perhaps?

I heard an excerpt on my local radio station yesterday - the finale
to Op 31 #3. I found it too fast, and lacking in expressivity. But
I don't wan't to judge the set based just on one movement.

[dk]

Post by Al Eisner

Post by h***@btinternet.com

Post by Ricardo Jimenez
This is the name of a 12 disc set of Beethoven piano works on the
Signum Classics label that I just finished listening to on Spotify.
The pianist is a 42 year old Welshman. There is a surfeit of riches
with these sets. I always think the last one I've heard is the best
ever.
First and twelveth discs are of sonatas 1-3 and 30-32 but the order of
sonatas is mixed up on other discs. Discs are of concerts at Wigmore
Hall. Besides the 32 sonatas there is also the Diabelli's as well as
other variation sets, Op 33 and 126 bagatelles, fantasies but it is
not a complete transversal of Beethoven's piano music.
I don't engage in comparison listening between sets but I'll give some
impressions of what came to mind while listening while doing other
things at the computer.
Emphasis is more on beautiful tone than excitement but there is a big
dynamic range. Fast tempos but never sounds rushed. Nice sense of
flow, legato, humor where it belongs. Obviously, I liked it.

Why is it called "unbound"?

Beethoven as Prometheus perhaps?
I heard an excerpt on my local radio station yesterday - the finale
to Op 31 #3. I found it too fast, and lacking in expressivity. But
I don't wan't to judge the set based just on one movement.

Drink Limonade! ;-)

dk

[Oscar]

Listening to this set now. Very fine in No.12 in A-flat.

[Mark Zimmer]

I've listened to about half a dozen of the sonatas and find them capable but pedestrian. Nothing in particular to dislike, but I'm not finding any particular reason to recommend this set over any of the dozens of others equivalent. Just another face in the crowd, despite the hype-filled title. They are recorded well.

Mark

Post by Ricardo Jimenez
This is the name of a 12 disc set of Beethoven piano works on the
Signum Classics label that I just finished listening to on Spotify.
The pianist is a 42 year old Welshman. There is a surfeit of riches
with these sets. I always think the last one I've heard is the best
ever.
First and twelveth discs are of sonatas 1-3 and 30-32 but the order of
sonatas is mixed up on other discs. Discs are of concerts at Wigmore
Hall. Besides the 32 sonatas there is also the Diabelli's as well as
other variation sets, Op 33 and 126 bagatelles, fantasies but it is
not a complete transversal of Beethoven's piano music.
I don't engage in comparison listening between sets but I'll give some
impressions of what came to mind while listening while doing other
things at the computer.
Emphasis is more on beautiful tone than excitement but there is a big
dynamic range. Fast tempos but never sounds rushed. Nice sense of
flow, legato, humor where it belongs. Obviously, I liked it.

[MIFrost]

Post by Mark Zimmer
I've listened to about half a dozen of the sonatas and find them capable but pedestrian. Nothing in particular to dislike, but I'm not finding any particular reason to recommend this set over any of the dozens of others equivalent. Just another face in the crowd, despite the hype-filled title. They are recorded well.
Mark

BBC Music Magazine gives it a "5-star" review. Calls it Recording of the Month. I was tempted but I may pass. What I have now (and like immensely) is Gulda and Goodyear, along with other partial sets.

MIFrost

[dk]

Post by MIFrost
BBC Music Magazine gives it a "5-star" review.

The most reliable negative recommendation
if there ever was one.

Post by MIFrost
Calls it Recording of the Month. I was tempted
but I may pass. What I have now (and like immensely)
is Gulda and Goodyear, along with other partial sets.

If one likes Gulda one is likely to like
HJ Lim even better!

dk

[Mark Zimmer]

Post by Mark Zimmer
I've listened to about half a dozen of the sonatas and find them capable but pedestrian. Nothing in particular to dislike, but I'm not finding any particular reason to recommend this set over any of the dozens of others equivalent. Just another face in the crowd, despite the hype-filled title. They are recorded well.
Mark

Post by Ricardo Jimenez
This is the name of a 12 disc set of Beethoven piano works on the
Signum Classics label that I just finished listening to on Spotify.
The pianist is a 42 year old Welshman. There is a surfeit of riches
with these sets. I always think the last one I've heard is the best
ever.
First and twelveth discs are of sonatas 1-3 and 30-32 but the order of
sonatas is mixed up on other discs. Discs are of concerts at Wigmore
Hall. Besides the 32 sonatas there is also the Diabelli's as well as
other variation sets, Op 33 and 126 bagatelles, fantasies but it is
not a complete transversal of Beethoven's piano music.
I don't engage in comparison listening between sets but I'll give some
impressions of what came to mind while listening while doing other
things at the computer.
Emphasis is more on beautiful tone than excitement but there is a big
dynamic range. Fast tempos but never sounds rushed. Nice sense of
flow, legato, humor where it belongs. Obviously, I liked it.

I listened pretty closely to his set of the Prometheus variations op.35 a few days ago. For most of the variations, Williams seemed pretty uninterested and just marking time...until he got to the big fugue at the end. Clearly something there connects with him, because it's quite lively (both for a fugue, and otherwise). So there are some little nuggets of joy scattered here and there.