On Sunday, June 11, 2006 at 2:06:03 AM UTC+1, Premise Checker wrote:

Todd reviews Yukio Yokoyama's Beethoven Cycle
Stereophile Forums: Beethoven's Piano Sonatas; Or: A whole lotta cycles!
in http://forum.stereophile.com/forum/showflat.php?Cat=0&Number=4414&page=0&fpart=all&vc=1
by Todd#4468 - 02/09/06 12:47 PM (199.43.32.68)
Yukio Yokoyama
When BRO first carried Yukio Yokoyamas 12-CD set of Beethovens
complete solo piano music, I passed. Never heard of the guy, I
thought. Nor had anyone else. Why risk sixty whole dollars? Well,
after finishing my first Friedrich Gulda Beethoven cycle and while
my Yves Nat cycle was on order, BRO got the set back in for $24.
$24! I saw no reason not to buy. I figured, worse case scenario,
hes no good, and I can trade this bad boy in for at least what I
paid. Best case scenario, I find an undiscovered gem. So I went for
it.
Being the curious sort, I looked around the net after I had already
ordered to see if I could find any comments on Mr Yokoyamas
artistry, with a keen interest in his Beethoven. English language
information and reviews are few in number. About the only thing I
could find was a positive and perplexed review of a Chopin recital
that Sony let languish in the can for years. The reviewer pondered
why Sony would let such a fine recording languish. That was a good
sign. But I was still a bit wary. Chopin, great though his music
undeniably is, is not Beethoven. Perhaps there is a reason why Sony
let the young Japanese pianist record almost all of Beethovens
piano output (hes also laid down a piano concerto cycle!), Chopin,
and Liszt (he has recorded the Transcendental Etudes, as well)
without engaging in a global PR blitz; perhaps Mr Yokoyama is a
Japanese artist for the Japanese market, displaying traits that
only the Japanese might admire fully. I wholeheartedly reject such
notions, mind you: fine artists are fine artists, period. A&R folks
sometimes see things differently, though. Still, there was a
chance, and a pretty good one, of Yokoyama being a provincial
artist not really capable of holding my interest.
That he most certainly is not. The young Yukio he was born in 1971
is a talented pianist who studied both in Japan and France,
graduating from a conservatory in the land of cheese and whine, er,
wine, at the age of 19. He studied with a number of French pianists
(of course), including Vlado Perlemuter, so he should have learned
something. He did. Like my favorite French pianist Robert Casadesus
Yokoyama does not play in an overtly romantic way. He can and does
let loose, but his overall approach is a more measured, more
precise, more architectural approach than a heated, of-the-moment
one. Generally, thats what I like. (There are always exceptions, of
course, like, oh, say, Annie Fischer.) He also has a fine
technique, but he often chooses not to display it for the sake of
displaying it. No, he deploys it in the service of the music.
Anyhoo its time for the Beethoven. These twelve discs of music were
recorded in eighteen days over a nine month period in 1998 and
1999, so Yokoyama got to lay down his initial thoughts on the works
while still very much a young man. Thats not a bad thing, and with
Guldas Decca cycle soon to be mine, I figured it would be
worthwhile to hear how another young man, a half-century removed,
plays the same music. He plays it well. Well, at least in what I
listened to today. Rather than present the works chronologically,
the twelve discs comprise all-Beethoven recitals, much as Claude
Franks cycle does, so that meant that I needed to disc hop to
obtain my objective. The set opens with Op 2/1. (It ends with Op
111, thus mirroring Mr Franks layout to a degree.) What a fine
opener! Yokoyama is measured and restrained and presents everything
lucidly, cleanly, and with just the right degree of tension, proper
tempi, and enthusiasm. To an extent, this feels like a by-the-book
recording: everything is obviously thought out and well-planned
and, if perhaps not as spontaneous as some, it is still completely satisfying. He may lack Annies passion, and Guldas pointed, groovy
style, but Yokoyama offers a peachy opener. If only the next two
are like this, I though to myself, Ill be a happy man.
Theyre not. Theyre better! The second sonata is infectiously
buoyant and upbeat, Yokoyama relishing the alternating runs and
delivering them with nary a note out of place. Each movement is
joyously dispatched, but in a carefully crafted sort of way. While
hes a young man who very much enjoys this music (or at least that
how it seems), he never lets his fingers get ahead of his mind or
the music. All serves the greater good. Even better, the third
sonata is just a joy. The opening is most certainly allegro con
brio, and a few times Yokoyama gets to show what he can do as he
lets some of the quicker, more virtuosic passages fly though always
under precise control and he unloads some big-boned, big scale
chords, too. The Adagio is slow, heavy-ish (but not ponderous),
and, if perhaps lacking the probing depth that some older, more
experienced pianists can bring to it, it nonetheless makes one
contemplate the music, not the pianist. The scherzo and finale are
both joyous and a joy to hear. So, the first three works are down,
and a fine set they are. As a set, it does not match Fischer or
Gulda, but it easily bests Nat, not to mention a number of others.
Its really superb. One thing of note is how unnotable much if it
is. Yokoyama does not adopt especially fast tempi, nor does he
favor slow ones. Theyre just right. His dynamic range is wide but
not amazingly so. His control is exemplary, not flashy. His tone is
pretty straight-forward, favoring neither a lean, crisp sound, nor
a rich sound, nor a heavy sound. Its middle of the road, but
blessedly so. In other words, Yokoyama is largely
eccentricity-free.
Moving along finds a remarkable Op 7. Of the three new versions Ive
heard over the last few weeks, this is the best. Yokoyama adopts a
flowing, graceful overall approach, bringing out the
quasi-Pastorale feeling that I like. He still accents a few notes
and chords sharply, but it all blends together in a most wonderful
way. All the movements are cut from the same cloth, Yokoyama
choosing to emphasize their coherence and unity as opposed to
accentuating the differences. While this sonata can sometimes seem
a bit long and Yokoyama brings his in at over 28 here, its all over
before one knows it. When the last notes rang out, I was in minor
disbelief. How? How could it be over so soon?
The Op 10 works open with a slight decrease in quality. Sort of.
Yokoyama opts for a not-too-fast opening, which is to say, a
slow-ish and decidedly dramatic opening, an approach he applies to
the opening of the third movement as well. In this sonata he allows
himself more noticeable interpretive leeway, choosing to present
this C minor works as a preview of the next C minor work. The outer
movements can sound a bit heavier than ideal as a result, but the
middle movement suffers not one bit. Indeed, I enjoyed how hed hold
on to a chord just a smidgeon longer than Im used to, allowing the
next melody to begin before finally releasing. A number of
similarly nice touches can be heard throughout. Its not bad not at
all its just different from what Im used to. The second sonata is
more to my liking, Yokoyama taking a lighter, brighter approach.
Something interesting happens, though: he opts not for quick speeds
some of the playing is deliberate, but in a decidedly positive way
but his, well, relaxed and joyful approach is irresistible. The
final movement is most intriguing. It opens slowly, or at least
slowly compared to some other versions, but each time the main
theme is repeated, Yokoyama picks up the pace a little until he
arrives at a nice pace and keeps it to the end. He chooses not to
play the repeat, but it works. The final sonata is similar in
overall approach, with especially and effectively buoyant and sunny
outer movements flanking some more serious inner movements. The
second movement is definitely played Largo and Yokoyama plays in a
fashion that seems to portend that he will do very well in the late
sonatas. The serious, slower tone carries over to the third
movement, rendering it less than perfect, but its still enjoyable.
As a set, Yokoyama does very well, though the slight inconsistency
good first, stellar second, near-stellar third prevents me from
placing him in the upper echelon. Hell have to settle for merely
superb.
The first of the big name sonatas comes off reasonably well. First
off, this is a young mans take, emphasizing athleticism and
quickness rather than depth and pathos. If you hanker for the
latter, this will probably not satisfy. His opening chord shows
that he means business its strong and he holds it a while. His
fingers handle most of the more challenging parts of the score
rather well, and if he does suffer a notable memory lapse in the
first movement, it is easily and quickly forgotten. The middle and
closing movements both support and further his view on the work,
and he ends very strongly. Okay, its not the best, but in the Op 13
the competition is incredibly stiff and comes from the greatest
pianists, so theres not much shame in a young man not rising to the
top.
I began the two Op 14 with high hopes, given Yokoyamas take on the
earlier works. The first sonata opened a little too slow for my
liking, but that hardly precludes a given performance from being a
good one. Yokoyamas playing is alert, nuanced, and colorful
throughout the first work, but its also just a bit cool and
detached. Its not that he doesnt like the piece, or so it seems,
its just that he doesnt bring out the lightness I like. Even so,
his clean, uncluttered, unaffected playing made it a pleasure to
listen to. So I expected the second sonata to be similar. Instead,
I heard a performance that knocked my socks off! Yokoyama is not
quick. Not at all. He takes a measured, relaxed approach, and he
plays just beautifully and with a splendid tone. But what really
makes this sonata a success is his almost effortless, gliding feel.
He knocks out the notes alright, but theres a grace and subdued
happiness throughout. Its poofy, cloudy playing, though everything
is clear. Nonsensical, perhaps, but thats how it sounds. The second
movement is as if from a dream. The finale is light, chipper, and
clever. Its all so wonderful that I never wanted it to end. But it
does. No matter this ones getting played again as soon as Im done
with the whole cycle. (I may even be naughty and sneak a repeat
in.) So, the Op 14 is a tale of two sonatas: one very good; one
great.
Some readers may have noticed that I said Mr Yokoyama suffers a
memory lapse in the Pathetique. Thats because, despite no mention
in the pitifully scant liner notes, the performance sounds as
though it were recorded live. Many of them do. Id almost be willing
to bet that the whole set is. How else to accommodate so much music
into eighteen working days? There are some tell-tale signs: some
coughing here and there, as well as some other extraneous noises.
No applause ever intrudes, but careful editing and obedient
audiences can account for that. The sound on all of the recordings
thus far is a tad on the bright side, and lower-register weight is
a bit lacking. Everything is mostly clear, a few passages where
sound becomes a bit congested notwithstanding. (Such passages seem
to point to live recordings, too; surely no Sony engineer would
allow this to pass in the studio.) The piano used (Im betting a
Yamaha) is not ideally voiced, producing muted color and a bit of
clang from time to time. I dont think its Yokoyama the sound occurs
at seemingly random times, and not always during the loudest
passages. Minor misgivings aside, this cycle has started out in a
most promising way. And this time I have all those tasty variations
and bagatelles to look forward to too. Perhaps Ill listen to some
more tomorrow, who knows?
----
Moving on to the Op 22 finds a return to the style Yokoyama
displayed in the first sonata. His approach, at least for the first
three movements, strikes me as an almost textbook approach: adhere
to the score; dont engage in any wild gestures; dont indulge any
personal desires. If that reads as a damning comment, its not.
Yokoyama keeps everything under control, not indulging in virtuoso
showiness and not allowing any one element to dominate another.
Where the piece should be jolly and swift, it is. Where it should
be slower and more contemplative, it is. In the fourth movement,
Yokoyama does add a dash of individuality. He makes the piece sound
stormier than I would have thought, giving us a little taste of
sturm und drang. If ultimately this is not a top contender, the straight-forward style still allowed me to revel in Beethovens
writing.
Op 26 fares better. Here, Yokoyama is more individual from the
start. He plays the variations of the first movement with enough
distinction to make the listener want to hear what hell do next.
The Scherzo is dispatched with taste and drive in perfect
proportion, bridging nicely to the funeral march. Yokoyamas Funeral
March is superb. Its funereal in feel, but he never resort to
extending or distending anything, and he refrains from exaggerated
dynamics in making his points. The finale is played quickly and
stylishly, with Yokoyama playing a bit more with phrasing and using
a discreet rubato that blends in well enough. Again, this doesnt
rise to the top of the heap, but it is sufficiently good hell, its
better than merely good to insure it will be played again. Perhaps
in a comparative review? Who knows.
The two Sonatas quasi una fantasia represent perhaps the weakest
performances of the set thus far, though at least one offers a
glimpse of something that may prove to be special. That occurs in
the first of the two sonatas. Yokoyama takes a basically slow
approach where even the opening and closing portions are on the
slow-ish side, though with moments of swiftness. The core of the interpretation lies in the slow middle portion. While the second
movement is labeled Allegro molto e vivace, Yokoyama plays it
Allegreto at best. Artful use of the sustain pedal combined with
strongly sounded notes create a wonderfully dreamy atmosphere, and
if it is all on the noticeably individual side, it is nonetheless
effective. The transition to the Adagio con espressione is
flawless, and the atmosphere and mood are maintained. When the more
rapid closing portion of the work arrives, it seems a bit out of
place. Yokoyama has much to offer, but I feel that his
interpretation is a work in progess. His approach doesnt quite jell
yet (or didnt when he recorded it), but perhaps it will in the
future. If so, I hope to hear it. The Mondschein comes off as run
of the mill. The opening is solemn enough, the second movement
(relatively) buoyant enough, and the third movement quick and alert
enough, though a brittle and metallic sound appears in the louder
passages. Time to move on . . .
. . . to a superb Pastorale. I had a sneaking suspicion that
Yokoyama would do well here given his outstanding Op 7, and he does
not disappoint. The whole thing has a nicely laid-back feel, though
it never threatens to slide into lax boredom. Yokoyamas fingerwork
is clean and articulate, and judicious use of the pedals and
immaculate timing allows one to savor each lovely melody. The young
pianists sense of rhythm, while perhaps not as accomplished (and,
frankly, stunning) as Guldas, lets the whole thing just cruise
along while never becoming the dominant trait. In the third
movement, Yokoyama favors some more pointed playing, but he never
forgoes a nicely, well, pastoral feeling, and allows a nicely
reined in display of what he can do. And what he can do is shown
off best in the final movement. His utterly tasteful use of rubato
allows him to start off with a few slow notes just to have them
segue flawlessly to more rapid, though never too fast key tinkling.
The very end is played with just the right dash of impressive
virtuosity, and the whole thing comes to a nicely eventful
conclusion. Really, this is a peach of a recording, and one of the
strongest of the cycle thus far.
So far Yokoyamas cycle displays a bit of variability. Since every
other cycle does, too, thats probably a good sign. He tries some
unique things and has some original ideas, and if they dont all
work equally as well, that just means theres room for improvement.
----
The Op 31 sonatas started in a most promising fashion. Yokoyama
takes the opening movement swiftly, with delectably light
fingerwork. Everything is generally clear and upbeat and just plain
fun to listen to. A few times he contrasts some passages with
simplistic dynamic variation everything is really quiet and then
really loud but that minor misgiving aside, he does a fine job in
the opener. The second movement finds the young pianist putting his
stamp on the work. He opens with a lovely trill, and he implements
a tasteful and noticeable rubato, with subtle yet marked tempo
changes altering the meaning of some passages, and his use of some
personal pauses and hesitations just adds to the overall appeal.
During a few passages, his left hand plays a waltz like rhythm (as
in inspired by Chopins waltzes) to support the right hands
melodies. While successful on its own terms, some may be less happy
with it. The final movement is poised and meticulous, and loaded
with charm. Yokoyama plays extremely well, and ends in dazzling
fashion. This is definitely on the light side, interpretively, and
some may want something heavier, but its quite good on its own
terms.
Decidedly less successful is the Tempest. Here Yokoyamas youthful
and apparently not fully worked out ideas dont work. He opens the
piece tentatively, and not until around 45 in is there any
substance, which isnt necessarily bad, but what follows certainly
is not that good. As in the first of the bunch, Yokoyama opts to
use stark dynamic contrasts to make his point, here taking things
down to a mere whisper at one extreme and up to a hard fortissimo
at the other. To accentuate the pianissimo playing, he slows way
down at times, almost and perhaps on occasion losing the musical
line to short-term effect. It just doesnt work. The finale is
better and more standard in conception, with dramatic playing, and
Yokoyama does play with some urgency, but here, too, he seems to be
trying a bit too hard. At least he tries something individual, I
guess.
The third sonata lies midway between the first two, qualitatively
speaking. The opening of the piece is a decidedly low-voltage
affair, and at about 120 in Yokoyama seems a bit out of sorts,
though he recovers nicely enough after that, infusing some joy and
humor into the proceedings, punctuated by some hearty low notes.
The second movement is jauntier and generally more successful. Here
Yokoyamas individuality pays off a bit more. The third movement
comes off as light and graceful, and the finale is both forceful
and playful, as well as extremely well done. But taken as a set,
this most crucial batch of sonatas cannot be rated a complete
success. The second is not good, and only the first really stands
up to the competition. This more or less precludes Yokoyamas cycle
from being a great one to my ears, but the fine music making that
came before surely must show up again, redeeming the cycle. Right?
The two little Op 49 sonatas do come off well, both being played
with the right blend of beauty, charm, with, and seriousness, and
the second movement of the second sonata does evoke the glory of
the Septet. But these are merely stopovers until the bigger works
arrive.
When the first of those bigger works arrives, it seems a harbinger
of, if not doom, then at least slight disappointment. Again, some
of Yokoyamas ideas do not sound fully worked out. The work opens in
a measured way, definitely avoiding the quickness of some, while
never slipping into sluggishness. It seems a bit contrived, though.
During the first slower passages, Yokoyamas playing takes on a
ruminative feel, but again, its somewhat contrived. As he works his
way through the piece, Yokoyama displays an ability to alternate
tempi fluidly and with panache, but sometimes his transitions arent
musically successful. The second and third movements are presented
as one track in this recording. The opening Adagio section is
played very slowly to the point where the work almost doesnt flow.
While Yokoyama lavishes attention on each note and chord, it sounds
a bit contrived. Again. The Rondo portion opens quite tenderly, and
then swells into broad, powerful playing, although the price is
paid when one hears a bit of steel. At about 7 in, Yokoyama lets
loose with a display of virtuosic pianism that, while impressive in
itself, doesnt completely further the work. So, all told, this is
another mixed bag. My hopes for the set started to wane.
Fortunately, the next five sonatas assuaged my concern. The Op 54
sonata comes across as a deft mix of slightly quick and decidedly
lyrical playing. Yokoyama doesnt hammer home any points, and he
doesnt rush; he lets everything unfold in a most pleasing manner.
His tasteful rubato and nimble fingerwork add to the allure. No,
this is not the best around, but I can easily envision myself
listening to it many times.
As for the Appassionata, well, Yokoyama very much plays a young
mans version. I suppose that shouldnt be too surprising. His sound
is big, bold, and definitely passionate, but in a slightly
restrained way. He doesnt want to let it all hang out. He wants to
and does revel in the showier parts of the music, and to his credit
he never goes overboard. The fast passages can at times be
excitingly fast. Hell attack a crescendo with satisfying intensity,
though he never sounds out of control. (Perhaps a bit more fury
would be nice at times.) Yes, its a good opener. The second
movement acts as a nice bridge, with Yokoyamas playing taking on a
slightly plaintive tone, and it possesses an anticipatory air about
it. Thats because hes anticipating the close. Yokoyama tales it
fast and revels in some of the showy parts. Energy and intensity
abound, but this remains a young mans conception, without the depth
of better performances. That written, Ill take it!
Both the Op 78 and Op 79 sonatas come off very well. Yokoyama
treats them as substantive, meaty pieces, not just brief little
stopovers. Common to both is a strong, insistent playing that makes
them sound close to the surrounding works. The 79 benefits from
tightly played movements that really make it sound all encompassing
despite the brevity.
The Les Adieux concludes the winning streak, and ends another
session on a high note. Yokoyama opens the work in a strikingly
disconsolate way, but then erupts into more accessible playing as appropriate. This is quite the goodbye. The second movement broods
and is haunted by a pervasive melancholy. Pianist and composer both
seem to be looking back, weighing what has happened, and what is to
come. When the return arrives, it is with a veritable outburst of
joy. Everything sounds exultant, but never tips over into
sentimental gushing. Some of Yokoyamas playing can sound a bit more
mannered than ideal, but it really hinders nothing. This is a fine
recording.
So, another big batch down, and it has become clear that Yokoyama
is variable. At his best, he is remarkable. At his worst, while hes
never bad, hes still got some things to work through before his
performances seem complete and unified. The good definitely
outweighs the bad, though. I wonder what the late works will bring.
----
Though the prior listening session ending strongly, I approached
the Op 90 sonata with a mix of eagerness and trepidation.
Yokoyama's shortcomings are obvious, and the late works can
demolish a pianist, yet his handling of the five immediately
preceding works seemed to bode well. Perhaps not surprisingly, the
results are mixed. Yokoyama plays the piece well technically, and
doesn't succumb to a false need to present the work as interminably
profound, yet he is a bit too shallow. He opens strongly, with some
striking chords to grab one's attention, and the he softens up a
bit, with a nicely varying tone. But where's the metaphysical beef,
as it were? Well, the closest approximation comes in the second
movement. While the opener is well played but shallow, the second
movement finds Yokoyama offering an extended essay in beauteous,
almost ethereal playing, extending the movement perhaps a bit
longer than ideal, but nonetheless providing one with a ravishing
aural experience. I'd be lying if I said it offered the depth and
insight of some other players, and a half-so-so, half-beautiful
sonata is not my idea of a masterful reading. Still, I'm glad to
have heard it.
The 101 is likewise a mixed bag. Again, Yokoyama plays very well,
but it is all too superficial. The first movement contains a soft
but ultimately manufactured sadness at times, that while nice to
listen to, is ultimately too bitterly saccharine to satisfy. The
second movement finds the young protagonist somewhat at sea. He
plays the notes, sure, but he sometimes seems to be doing no more
than that. Sections seem disconnected, the flow is interrupted. The
last two movements are merged into one track here, and it all
blends together as a whole, I suppose, but even here, with some
energetic, invigorating playing, all is too manufactured.
Things just get worse with the Hammerklavier. Yokoyama was just not
ready to play this work when he recorded it. The problems are
evident from the start. He takes the opener at a pace he seems to
handle with ease, yet his overall conception is shallow and small.
About 9' in, he slips a bit, and then for a minute or so he seems
adrift, unable to get back into the groove. The second movement
doesn't really improve things. While no major faults mar his
playing, he still doesn't play with 100% assurance and focus. The
great Adagio continues on the same way. While generally desolate
and cool - which is fine by me as an overall take - he still has
some trouble holding the musical line, and all while offering
little insight. He also plays the movement slowly, and while
slowness can make this piece of music sound more profound, that's
not the case here: at times it just sounds slow. At times, the
whole thing takes on a quasi-episodic feel that annoys more than
enlightens. The finale offers the best playing in the work. After
an appropriately poised open, it's off to the races, with Yokoyama
flying across the keyboard. Unfortunately, the speed is not
accompanied by notable contrapuntal clarity. So, let's just say
that this isn't likely to be played a lot around these parts.
After three disappointments in a row, I figured the last three
sonatas were bound to be less than exemplary. While they are that,
they are also far better than I had anticipated. The youngster
redeems himself! The 109 opens gracefully, and the first cascade of
notes is light 'n' feathery. Careful underscoring and tasteful
rubato helps things along. The second movement is bold, assertive,
and direct, offering a nice contrast to the opener. The final
movement opens similarly to the first movement. Yokoyama's nicely
graded tone and gently nuanced (some may even say precious)
approach, complete with tasty little arpeggios, works rather
nicely. The middle section crescendo is marvelously controlled and meticulously played. While I'd hardly characterize the
interpretation as particularly deep, Yokoyama's thoughtful approach
makes it very attractive, indeed.
Ditto the 110. While it opens a tad quicker than seems the norm,
and moves along perhaps too quickly overall, Yokoyama's playing is
stylish, with his finely graded tone and seamless dynamic
transitions make it a joy to listen to. His stabs at those
ultimately indefinable traits that characterize late Beethoven -
titanically meaningful chords, trills bursting with spiritual
strength, etc - are commendable, but not quite up to the best.
Again, he's a bit superficial. The second movement feels pretty
much the same way. The third movement opens with a suppressed cry
for understanding, followed by a familiar, fatalistic admission
that it won't, it can't come, so fugue it! Which Mr Yokoyama gladly
does. He dispatches what follows nicely enough, and the big chord
buildup is well done, too: he starts quietly and gently rises to a
loud but not blaring fortissimo loudness before proceeding on.
Okay, the third movement is shallow, too, but I still rather fancy
the recording.
The 111 is perhaps the best performance of the late sonatas.
Yokoyama opens the work firmly, displaying his strengths in superb
fashion. Ominous rumbles precede the darkly hued hammering chords,
and if he is not crystal clear throughout the opening movement,
like, say, Gulda, he still offers more than enough to warrant
paying very close attention. The second movement opening may be
slightly overdone, purposely trying to play up the profundity, but
any damage is negligible. To the end, the tempi are very well
judged and Yokoyama opts for an eccentricity-free approach. Close
attention is required to get the most out of this recording: each
moment, each phrase, each idea is clear and loaded with meaning,
but all can be viewed as a bit underplayed when compared to some
other recordings. No, Yokoyama cannot match up to the greats - I'll
leave it to you to pick 'em - but he does very well. As an added
bonus, the sound for this recording is superb: clear, weighty,
warm.
Wrapping up the late sonatas means that I must try to figure out
where he belongs along the qualitative spectrum. There's no doubt
that he's just not up to the best out there. Annie Fischer, Wilhelm
Kempff, Artur Schnabel, Friedrich Gulda: all offer far more than
the youngster. I suppose I'd say this about on par with
Jean-Bernard Pommier's set overall. While offering many good
things, and some extraordinary things, his shortcomings are just
too significant to say that he is a great Beethovenian. Of the
three sets I've recently acquired, this is the least satisfying
overall. Perhaps more important than what Yokoyama accomplishes is
the promise he shows. He was only in his 20s, after all. Perhaps a
decade or so from now he can revisit some or all of the works and
lay down even better interpretations. I hope he gets to.
Since Yokoyama recorded more than the sonatas, I guess I should
cover those works, too. I'll keep it brief. Despite the labeling,
this set does not include all of Beethovens solo piano music.
Rather, it includes all of his solo piano music with opus numbers.
So, theres no Für Elise (shucks), nor some well known variations,
and so on. But there is plenty other piano goodness on tap.
Overall, Yokoyama does a fine job, and the earlier works fare
relatively best. The Op 33 Bagatelles are very good, with the

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