Notes and Editorial Reviews
Piano Sonatas Nos. 1–3,
Sequeira Costa (pn)
CLAUDIO 55712 (70:33)
Sequeira Costa, a Portuguese pianist born in Angola in 1928, was one of the last students of José Vianna da Motta, a student of Liszt. He later worked in Europe with Mark Hambourg, Marguerite Long, Jacques Fevrier, and Edwin Fischer, a group of individualistic pianists from varied traditions whose influence might suggest that Costa would play in a more subjective, less modern style than he
does here. In Beethoven’s first three sonatas, he comes across as a scrupulous, refined player, a bit self-effacing, and carefully attuned to the classical style.
After an early European career, Costa taught at the University of Kansas for many decades, and has made quite a few recordings of music ranging from encores to major concertos. I learned about him not from this bare bones Claudio release, which has no booklet, but online. (The photo on the CD cover shows him as a young man).
This recording is a reissue, Volume 1 of a complete Beethoven sonata cycle from 1999 that I haven’t heard. Claudio’s sound is clean and not overly reverberant, suited to Costa’s very precise approach. His playing is admirably true to the letter of the scores, and often to their spirit, with little or no imposition of personal mannerisms or exaggeration, no “point making” in choices of tempos, voicings, articulations, etc. This is not to say that the playing is bland or mechanical—it isn’t. The music, in most cases, is brought to life with buoyant rhythm, elegantly rounded phrasing, and sensitive characterization—but Costa’s interpretations favor the music’s balance and well-manneredness, as opposed to its more arch or arrogant aspects. Costa’s thorough observation of the scores’ details is notable.
The First Sonata’s controlled
Sturm und Drang
is particularly well communicated. Sonata No. 2 receives a Mozartian reading, controlled, charming, and carefully articulated. Both performances are notable for their rhythmic control.
In Sonata No. 3, a work of larger dimensions than the first two sonatas, Costa’s steadiness starts to feel metronomic. This is Beethoven’s most Clementi-like sonata, bold and humorous, with much repetitive passagework. (Beethoven’s next sonata, op. 7, one of the greatest of the 32, represents a huge increase in mastery). Costa reins in the first movement’s mock grandiosity, inhibiting the music’s need to transcend the feeling of four beats to the bar, and he doesn’t create striking enough contrasts between passages that mimic solo and tutti concerto elements. The fourth movement also calls for more playfulness than Costa supplies, his approach being too bound by the beats. It’s by no means a bad performance, just a bit tame.
I recommend Costa’s performances of the first two sonatas for their admirable, cultured piano playing.
FANFARE: Paul Orgel
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