It's all about the finger technique in this recording by
Rudolf Serkin of two of Beethoven's late piano sonatas. The opening of the Hammerklavier is a telling example of
Serkin's technique. It is forceful, percussive, loud, and grand. The intense pounding is the overwhelming feature of the first two movements. It doesn't leave room for much subtlety, so
Serkin's shaping and phrasing of the movements is done in broad gestures. The long Adagio is more refined in expression, allowing his tone to come out, although his touch is still somewhat percussive and there's room for more legato in his melodies. This movement also has noticeable changes in sound, due to the editing of different recording sessions. The final movement starts out similar to the Adagio, but by the end,
Serkin resumes the vigor used at the Sonata's opening. Sonata No. 31 does have cantabile melodies, and the slow passages are beautiful and meaningful. The Adagio opening of its final movement is much more nuanced than anything else here, almost as if each finger-stroke is taking on its own significance. As the fugue builds from that quiet opening,
Serkin builds back up to the larger gestures and stronger attack, but he takes his time and makes it a logical, triumphant journey.
Serkin's head-on, technical approach to Beethoven, with less emotional or psychological exploration of the music, is singular and may not appeal to everyone.