Beethoven shows a considerable advance in personal expressiveness in the three piano sonatas Op. 10. The sweeping dramatic gesture and suppressed agitation of the first sonata give way to moments of gruff humour in the second. The third sonata marks the culmination of the set: most notably in the magnificent Largo e mesto slow movement. Two new discs offer contrasting approaches to this music.
John Lill's performances on ASV's budget Quicksilva label are actually a reissue of a recording made in 1978. The critical response of the time registered disappointment and, sadly, I too must do the same. Lill's approach seems uncomfortably cool and plain in expression. For example, the extremely slow tempo of the second movement of Op. 10 No. 3, which here lasts more than 11 minutes, produces a static effect which is at odds with the music's character. Compare Tan's more eloquently urgent EMI version which is more than three minutes faster! Moreover, the brightness of the recording provides a sharp focus which emphasizes Lill's rather square phrasing.
By contrast, a new recording by Louis Lortie unfolds performances of much greater spontaneity and character. His sympathetic phrasing and increased forward motion makes these readings very persuasive. Lortie's generally faster tempos generate an appropriate impetus which is particularly effective in the finely judged balance between agitation and tenderness in the slow movement from the first sonata of the set. The recorded sound is spacious and well-balanced.
Of the many versions which contain Op. 10 complete on one disc, Tan's accounts on forte-piano are compelling. However, for those who prefer the richness and depth of the modern instrument, Lortie's disc is highly recommendable. Jando remains my choice for a budget CE recording. His performances have more energy and enthusiasm than Lill's, and there is the added bonus of the Op. 79 Sonata (also included on Tan s disc).'