5 Sonatas & Capriccio

On this CD:

1. Keyboard Sonata in D major, H. 16/37
Composed by Franz Joseph Haydn
Performed by Joanna Leach

2. Keyboard Sonata in C sharp minor, H. 16/36
Composed by Franz Joseph Haydn
Performed by Joanna Leach

3. Keyboard Sonata in F major, H. 16/23
Composed by Franz Joseph Haydn
Performed by Joanna Leach

4. Keyboard Sonata in E minor, H. 16/34
Composed by Franz Joseph Haydn
Performed by Joanna Leach

5. Keyboard Sonata in D major, H. 16/51
Composed by Franz Joseph Haydn
Performed by Joanna Leach

6. Capriccio for keyboard in G major ("Acht Sauschneider müssen seyn"), H. 17/1
Composed by Franz Joseph Haydn
Performed by Joanna Leach

Tracks:

Piano Sonata In C Major, K. 46d: 1. Allegro
Piano Sonata In C Major, K. 46d: 2. Menuetto I - II
Piano Sonata In F Major, K. 46e: 1. Allegro
Piano Sonata In F Major, K. 46e: 2. Menuetto
Piano Sonata In C Major, K. 279: 1. Allegro
Piano Sonata In C Major, K. 279: 2. Andante
Piano Sonata In C Major, K. 279: 3. Allegro
Piano Sonata In F Major, K. 280: 1. Allegro assai
Piano Sonata In F Major, K. 280: 2. Adagio
Piano Sonata In F Major, K. 280: 3. Presto
Piano Sonata In B Flat Major, K. 281: 1. Allegro
Piano Sonata In B Flat Major, K. 281: 2. Andante amoroso
Piano Sonata In B Flat Major, K. 281: 3. Rondeau. Allegro
Piano Sonata In E Flat Major, K. 282: 1. Adagio
Piano Sonata In E Flat Major, K. 282: 2. Menuetto I - II
Piano Sonata In E Flat Major, K. 282: 3. Allegro

Tracks:

Piano Sonata In G Major, K. 283: 1. Allegro
Piano Sonata In G Major, K. 283: 2. Andante
Piano Sonata In G Major, K. 283: 3. Presto
Piano Sonata In D Major, K. 284: 1. Allegro
Piano Sonata In D Major, K. 284: 2. Rondo en Polonaise. Andante
Piano Sonata In D Major, K. 284: 3. Andante - Thema - Variations I-XII
Piano Sonata In C Major, K. 309: 1. Allegro con spirito
Piano Sonata In C Major, K. 309: 2. Andante un poco adagio
Piano Sonata In C Major, K. 309: 3. Rondeau. Allegretto grazioso
Piano Sonata In D Major, K. 311: 1. Allegro con spirito
Piano Sonata In D Major, K. 311: 2. Andante con espressione
Piano Sonata In D Major, K. 311: 3. Rondo. Allegro

Tracks:

Piano Sonata In A Minor, K. 310: 1. Allegro maestoso
Piano Sonata In A Minor, K. 310: 2. Andante cantabile con espressione
Piano Sonata In A Minor, K. 310: 3. Presto
Piano Sonata In C Major, K. 330: 1. Allegro moderato
Piano Sonata In C Major, K. 330: 2. Andante cantabile
Piano Sonata In C Major, K. 330: 3. Allegretto
Piano Sonata In A Major, K. 331: 1. Andante grazioso - Thema - Variations I - VI
Piano Sonata In A Major, K. 331: 2. Menuetto - Trio
Piano Sonata In A Major, K. 331: 3. Alla turca. Allegretto

Tracks:

Piano Sonata In F Major, K. 332: 1. Allegro
Piano Sonata In F Major, K. 332: 2. Adagio
Piano Sonata In F Major, K. 332: 3. Allegro assai
Piano Sonata In B Flat Major, K. 333: 1. Allegro
Piano Sonata In B Flat Major, K. 333: 2. Andante cantabile
Piano Sonata In B Flat Major, K. 333: 3. Allegretto grazioso
Fantasia In C Minor, K. 475: Adagio - Allegro - Andantino - Piu allegro - Primo tempo
Piano Sonata In C Minor, K. 457: 1. Molto allegro
Piano Sonata In C Minor, K. 457: 2. Adagio
Piano Sonata In C Minor, K. 457: 3. Allegro assai

Tracks:

Piano Sonata In F Major, K. 533: 1. Allegro (K. 533)
Piano Sonata In F Major, K. 533: 2. Andante (K. 533)
Piano Sonata In F Major, K. 533: 3. Rondo. Allegretto (K. 494)
Piano Sonata In C Major, K. 545: 1. Allegro
Piano Sonata In C Major, K. 545: 2. Andante
Piano Sonata In C Major, K. 545: 3. Rondo. Allegretto
Piano Sonata In B Flat Major, K. 570: 1. Allegro
Piano Sonata In B Flat Major, K. 570: 2. Adagio
Piano Sonata In B Flat Major, K. 570: 3. Allegretto
Piano Sonata In D Major, K. 576: 1. Allegro
Piano Sonata In D Major, K. 576: 2. Adagio
Piano Sonata In D Major, K. 576: 3. Allegretto

Customer Reviews:

Mozart-A prisoner of his own time........2006-09-08

If you were to clump all of the composers of the classical era together, mix them up, and listen to them willy-nilly in a blind hearing test, you'll never be able to tell the difference between them... until you hear Mozart. Mozart's era was not rich in harmony. To me, Haydn wrote the same symphony over and over. Stamitz and Gossec... love 'em, but they were also prisoners of this classical harmony. But Mozart was able to put his fingerprint on all of his music. You can pick his music out blindly with ease because it is unmistakingly Mozart. That's why we have a mostly Mozart festival and not a mostly Kraus (who?) festival.

As this cd shows, Mozart's music was sublime. But even he struggled with using this "harmony of the day". If you were to study the catalogues of Mozart's symphonies, sonatas, and chamber music, let's face it; you would hear a lot of turkies before you made it to the peacocks. We would have to wait until Chopin until the harmonies fattened up a little.

Having said that, you have to completely hail Mozart for taking what was available to him in his day and creating some of the most sublime music with it. It would be like for the next ten years all the world had available to eat was peas, and 200 years from now one man became immortal for the many interesting ways he was able to manipulate peas into a meal.

Good music and good value.......2006-08-28

Bought this for my son who is learning to play piano. Lots of good music, not too expensive.

Five and a half hours of joy for not much bucks.......2005-11-11

This is just about the best money I've ever spent on music. I love Eschenbach's interpretations: tenderness and emotional intimacy in spades---and dazzling effects without self-consciousness or "athletic" display of technique. I would say that he "lets Mozart be Mozart," except that these interpretations have so much personality that Eschenbach's own life-energy must be coming through. I just think that his own personality complements Mozart's perfectly.

FINALLY.......2004-08-05

I've searched the world over for a box set of all of Mozart's piano sonatas that I liked. The first one I heard was the Glenn Gould version, which in retrospect was not so smart. I like his playing but he hums into the mic during the recording. Real smart.

Anyways, Eschenbach plays these with all the virtuosity and feeling they demand. My favorite piano sonata is Mozart's 12th and he plays it flawlessly; the only thing remotely lacking is that he doesn't quite dig in as much as Alicia de la Roccha does when she plays it on the Allegro movement, but he more than makes up for it with his playing on the Adagio movement.

If it's not your cup of tea it might be worthwhile getting the de la Roccha box set, but personally I think the Eschenbach recording is the best out of all of them.

Neglected recording.......2003-02-03

As I remember, Eschenbach's DGG recording of the Mozart sonatas didn't make a big splash when it was released. Maybe another set of these familiar works wasn't what the reviewers wanted to hear at that time. However, repeated listenings over the past three decades have borne out that these are indeed fine performances, with certain among my favorites. The recording is rather close-up, which suits Eschenbach's generally crisp and bold style. Haven't heard the CDs, but the LPs had the typical DGG bass-shyness of the period. However, lack of thunderous bass is hardly fatal to Mozart piano works.

Listeners may want to investigate a new set by Elizabeth Rich being released on Connoisseur Society. The first two CDs are outstanding, with that company's beautiful recorded sound to boot.

Now an afterthought: In connection with the review I posted in February 2003, I am happy to report that the bass-shyness I noted on the LPs is NOT a problem on the CDs. Apparently good, solid bass was present on the original tapes, but DGG cut it back, as they did on many of their piano recordings of that era.

So I would recommend Eschenbach's CD set heartily. Further, Elizabeth Rich's set on Connoisseur Society is now complete, and no one will regret owning that one as well. (Unfortunately, it's at full price, expensive even on the Web.)

After the other reviewer's comments about the notes, I decided to read them and, yes, they are indeed kind of ditzy. I suspect that the translator is at least partly at fault.

Beethoven: Complete Piano Sonatas / Daniel Barenboim

Average customer rating:

Barenboim's Beethvoen
One of the very best ever
dead in the water
Sublime expression nourished by a colossal vision!
Performed with great enthusiasm

Beethoven: Complete Piano Sonatas / Daniel Barenboim

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Mozart:The Complete Piano Sonatas and Variations
Beethoven - The Complete String Quartets / Alban Berg Quartet
Beethoven: The Complete Symphonies and Piano Concertos
Schubert: The Piano Sonatas
Chopin: The Piano Works

ASIN: B00000C2KP
Release Date: 1998-10-20

Tracks:

Sonata No.1 In F Minor, Op.2 No.1: Allegro
Sonata No.1 In F Minor, Op.2 No.1: Adagio
Sonata No.1 In F Minor, Op.2 No.1: Menuetto: Allegretto
Sonata No.1 In F Minor, Op.2 No.1: Prestissimo
Sonata No.2 In A Major, Op.2 No.2: Allegro vivace
Sonata No.2 In A Major, Op.2 No.2: Largo appassionato
Sonata No.2 In A Major, Op.2 No.2: Scherzo: Allegretto
Sonata No.2 In A Major, Op.2 No.2: Rondo: Grazioso
Sonata No.3 In C Major, Op.2 No.3: Allegro con brio
Sonata No.3 In C Major, Op.2 No.3: Adagio
Sonata No.3 In C Major, Op.2 No.3: Scherzo: Allegro
Sonata No.3 In C Major, Op.2 No.3: Allegro assai

Tracks:

Sonata No.5 In C Minor, Op.10 No.1: Allegro molto e con brio
Sonata No.5 In C Minor, Op.10 No.1: Adagio molto
Sonata No.5 In C Minor, Op.10 No.1: Finale: Prestissimo
Sonata No.6 In F Major, Op.10 No.2: Allegro
Sonata No.6 In F Major, Op.10 No.2: Allegretto
Sonata No.6 In F Major, Op.10 No.2: Presto
Sonata No.7 In D Major, Op.10 No.3: Presto
Sonata No.7 In D Major, Op.10 No.3: Largo e mesto
Sonata No.7 In D Major, Op.10 No.3: Menuetto: Allegro
Sonata No.7 In D Major, Op.10 No.3: Rondo: Allegro
Sonata No.22 In F Major, Op.54: In tempo di Menuetto
Sonata No.22 In F Major, Op.54: Allegretto - Piu allegro

Tracks:

Sonata No.4 In E Flat Major, Op7: Allegro molto e con brio
Sonata No.4 In E Flat Major, Op7: Largo con gran espressione
Sonata No.4 In E Flat Major, Op7: Allegro
Sonata No.4 In E Flat Major, Op7: Rondo: Poco allegretto e grazioso
Sonata No.9 In E Major, Op.14 No.1: Allegro
Sonata No.9 In E Major, Op.14 No.1: Allegretto
Sonata No.9 In E Major, Op.14 No.1: Rondo: Allegro comodo
Sonata No.10 In G Major, Op.14 No.2: Allegro
Sonata No.10 In G Major, Op.14 No.2: Andante
Sonata No.10 In G Major, Op.14 No.2: Scherzo: Allegro assai

Tracks:

Sonata No.11 In B Flat Major, Op.22: Allegro con brio
Sonata No.11 In B Flat Major, Op.22: Adagio con molta espressione
Sonata No.11 In B Flat Major, Op.22: Menuetto
Sonata No.11 In B Flat Major, Op.22: Rondo: Allegretto
Sonata No.12 In A Flat Major, Op.26: Andante von variazioni
Sonata No.12 In A Flat Major, Op.26: Scherzo: Allegro molto
Sonata No.12 In A Flat Major, Op.26: Marcia funebre sulla morte d'un Eroe: Maestoso andante
Sonata No.12 In A Flat Major, Op.26: Allegro
Sonata No.13 In E Flat Major, Op.27 No.1: Andante - Allegro
Sonata No.13 In E Flat Major, Op.27 No.1: Allegro molto e vivace
Sonata No.13 In E Flat Major, Op.27 No.1: Adagio con espressione - Allegro vivace

Tracks:

SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Grave - Allegro molto e con brio
SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Adagio cantabile
SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Rondo: Allegro
Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Adagio sostenuto
Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Allegretto
Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Presto agitato - Adagio - Presto agitato
SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Allegro assai - Piu allegro
SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Andante con moto
SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Allegro ma non troppo - Presto

Tracks:

Sonata No.15 In D Major, Op.28 'Pastoral': Allegro
Sonata No.15 In D Major, Op.28 'Pastoral': Andante
Sonata No.15 In D Major, Op.28 'Pastoral': Scherzo: Allegro vivace
Sonata No.15 In D Major, Op.28 'Pastoral': Rondo: Allegro ma non troppo
Sonata No.21 In C Major, Op.53 'Waldstein': Allegro con brio
Sonata No.21 In C Major, Op.53 'Waldstein': Introduzione (Adagio molto) - Rondo (Allegretto moderato - Prestissimo)
Sonata No.19 In G Minor, Op.49 No.1: Andante
Sonata No.19 In G Minor, Op.49 No.1: Rondo: Allegro
Sonata No.20 In G Major, Op.49 No.2: Allegro ma non troppo
Sonata No.20 In G Major, Op.49 No.2: Tempo di menuetto

Tracks:

Sonata No. 16 In G Major, Op. 31 No. 1: Allegro vivace
Sonata No. 16 In G Major, Op. 31 No. 1: Adagio grazioso
Sonata No. 16 In G Major, Op. 31 No. 1: Rondo: Allegretto - Adagio - Presto
Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Largo - Allegro
Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Adagio
Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Allegretto
Sonata No.18 In E Flat Major, Op.31 No.3: Allegro
Sonata No.18 In E Flat Major, Op.31 No.3: Scherzo: Allegretto vivace
Sonata No.18 In E Flat Major, Op.31 No.3: Menuetto: Moderato grazioso
Sonata No.18 In E Flat Major, Op.31 No.3: Presto con fuoco

Tracks:

Sonata No.24 In F Sharp Major, Op.78: Adagio cantabile - Allegro ma non troppo
Sonata No.24 In F Sharp Major, Op.78: Allegro vivace
Sonata No.25 in G major, Op.79: Presto alla tedesca
Sonata No.25 in G major, Op.79: Andante
Sonata No.25 in G major, Op.79: Vivace
Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Das Lebewohl (Les Adieux): Adagio - Allegro
Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Abwesenheit (L'Absence): Andante espressivo
Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Wiedersehn (Le Retour): Vivacissimamente - Poco andante - Tempo 1
Sonata No.27 In E Minor, Op.90: Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Sonata No.27 In E Minor, Op.90: Nicht zu geschwind und sehr singbar vorzutragen

Tracks:

Sonata No.28 In A Major, Op.101: Allegretto ma non troppo
Sonata No.28 In A Major, Op.101: Vivace alla Marcia
Sonata No.28 In A Major, Op.101: Adagio, ma non troppo, con affetto - Tempo del primo pezzo - Allegro
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Allegro
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Scherzo: Assai vivace - Presto - Tempo 1
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Adagio sostenuto
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Largo - Allegro - Prestissimo - Allegro risoluto (Fuga a tre voci, con alcune licenze)

Tracks:

Sonata No.30 In E Major, Op.109: Vivace, ma non troppo - Adagio espressivo - Tempo 1
Sonata No.30 In E Major, Op.109: Prestissimo
Sonata No.30 In E Major, Op.109: Tema: Andante molto cantabile e espressivo - Variazioni 1-6
Sonata No.31 In A Flat Major, Op.110: Moderato cantabile, molto espressivo
Sonata No.31 In A Flat Major, Op.110: Allegro molto
Sonata No.31 In A Flat Major, Op.110: Adagio ma non troppo
Sonata No.31 In A Flat Major, Op.110: Fuga: Allegro ma non troppo - L'istesso tempo di arioso - L'istesso tempo della Fuga - Meno allegro
Sonata No.32 in C minor, op.111: Maestoso - Allegro con brio ed appassionato
Sonata No.32 in C minor, op.111: Arietta: Adagio molto semplice e cantabile - Variazioni

Customer Reviews:

Barenboim's Beethvoen.......2007-06-27

I heard Bachaus play all Beethoven recitals at Carnegie Hall, in NYC. At that time he was the acknowledged master of the Beethvoen Sonata. With Barenboim, the old order changeth, yielding place to new. These recordings have fire, tempestuousness and passion, all emotions that belong in Beethoven.

One of the very best ever.......2007-02-15

This set has to be experienced. The clarity of these performances is beyond belief. If it's not the best set of Beethoven Sonatas, it is certainly among the very best. Take for example the first movement of Sonata number 21. It is so easy to have a performer play all the notes just as Beethoven wrote them and yet leave the listener in a morass of confusion without the slightest idea of what he had in mind. Not here. The ideas pour forth in a white light that has to be experienced. It really has to be experienced!! I love these performances. I will play them until I die. Oh...and the recordings are technically excellent. At least when played through Levinson electronics and Maggies....superb!

dead in the water.......2007-01-12

Sorry, I just don't like Barenboim's renditions. Beethoven is my favourite composer, depending on my mood that is, and nothing moves me as his music can. But I just don't get Barenboim's renditions... doesn't do a thing for me. Something of Beethoven's depth and richness gets totally "lost in translation".

Better off finding a better performance of these if you really want to be "blown away". My favorite "Beethoven" conductor would have to be Herbert von Karajan; and as for individual pianists my all time favorite is Maurizio Pollini, whose performances are exquisite, in both technique and expression! If you are a music lover you should really check his work out if you haven't already. My favorite Beethoven CD by him is "Die Spaten Klaviersonaten" (Beethoven) by Deutsche Grammophon in their "legendary recordings" series. It is a real gem! (the sound quality is excellent also)

Sublime expression nourished by a colossal vision!.......2006-03-23

Thanks to this immense and untiring activity in the field of the orchestral direction, his vision as pianist has enriched himself quite a lot: Barenboim performs these well known Sonatas with a splendid architectural construction; according Schnabel `s tradition.

And that is a very remarkable good point in this musical moment where the pianist technique is eclipsing and even annulling the personal approach in the most of pianists all over the world. Honesty, conviction, vision and commitment dress those interpretations loaded of expression and personality.

In the great tradition of the great Beethovenian keyboard giants of the past, Daniel explores and plays every little bar with that well felt intensity of someone who in Beethoven `s there is much more than simple music. In Beethoven the music is not a goal by itself; but a revelation superior to any philosophy; all his musical legacy possess values that are placed of the standards. There is not art without second intention and that is precisely what Barenboim has made with this fabulous cycle of Beethoven Sonatas.

If you really want to listen remarkable performances far beyond of the trivial conventionalisms, go for this record.

Performed with great enthusiasm.......2004-05-16

This is classic early Barenboim (he was just 24 when he started recording this set in 1966). He is very enthusiastic and expressive (if you don't like him, he "takes liberties" and "shows off"). The slow movements are veerrry slow, and the fast ones really rip. Pianissimo is extremely soft, and fortissimo rattles the windows! [My wife insists that I wear headphones for late-night listening.]

Tracks:

Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Andante
Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Largo Andante
Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Allegro
Sonata In G Major, Op. 5 No. 1 For 2 Violins & Basso Continuo: Menuetto & Trio: Vivace
Duet For Violin & Cello In D Major: Poco Adagio
Duet For Violin & Cello In D Major: Tempo di Menuetto
Duet For Violin & Cello In D Major: Allegro (non troppo)
Eight Pieces For Violin And Cello: Tuning & Gavotte
Eight Pieces For Violin And Cello: Two Menuets
Eight Pieces For Violin And Cello: Air
Eight Pieces For Violin And Cello: Menuet With 2 Variations
Eight Pieces For Violin And Cello: Impertinence
Eight Pieces For Violin And Cello: Sarabande
Eight Pieces For Violin And Cello: Menuet With 2 Variations
Eight Pieces For Violin And Cello: Air
Sonata In C Minor, Op. 6 No. 5 For Violin & Basso Continuo: Andante
Sonata In C Minor, Op. 6 No. 5 For Violin & Basso Continuo: Allegro
Sonata In C Minor, Op. 6 No. 5 For Violin & Basso Continuo: Aria with 3 Variations
Sonata For Violin & Cello In D Major: Allegretto Spiritoso
Sonata For Violin & Cello In D Major: Vivace
Sonata For Violin & Cello In D Major: Grave
Sonata For Violin & Cello In D Major: Allegro Assai
Sonata In D Minor For 2 Violins & Basso Continuo: Andante Molto Cantabile
Sonata In D Minor For 2 Violins & Basso Continuo: Allegro
Sonata In D Minor For 2 Violins & Basso Continuo: Andante Pastorale
Sonata In D Minor For 2 Violins & Basso Continuo: Allegro

Customer Reviews:

Wonderful and delightful evenings.......2007-06-27

If you are a really follower of Jack Aubrey adventures you must have the 2 Volumes. The best companion for you reading every evenings. A must have.
Enjoy it.

Great Music.......2007-04-05

I bought this as an accompaniment while I read Patrick O'Brian's Aubrey-Maturin series of books, and it goes very well. I've enjoyed every piece on this album, and recommend it for music lovers and readers alike.

excellent compile.......2007-01-16

It is dead-on excellent. Perfectly in tune with the entire series and spirit of Patrick's work. A simply joy to listen to time after time. You grasp the character of the age in crisply performed versions of various collection.

Pleasant backdrop .......2006-01-10

As a child growing up in the city of Salem, known for it's working class backbone, I was the only kid I knew who had been to Symphony Hall more than Fenway Park. Going in to Boston for the symphony's open practices was what I lived for. It gave me a true appreciative, although untrained ear. The one lasting lesson is that while you may not notice good classical music, EVERYONE notices bad classical music. And this is NOT bad classical.

I have been a reader of the Aubrey Maturin Novels for 8 years (only two a year for dramatic suspense) and while I am a huge fan of Patrick O'Brian's writing, I find that with the addition of the music he scored his work to, I stand in awe. The music is well grounded to the situations and feelings in the book. Either Mr. O'Brian was a very well rounded, or he did his homework.

The CD is a wonderful insight to the author, and the characters he created. Pour a glass of claret, listen to the cd, read the books...

but pay no heed to Killick's "scrape, scrape , scrape..never a song you could dance to.."

Musical soothing of the soul.......2002-06-11

I have been a fan of Baroque music since childhood (and I'm not all that old either). But I've only started reading the Patrick O'Brian books in the last few months, since it was announced that my favorite actor, Russell Crowe, was about to star as Captain Jack Aubrey in the Peter Weir movie. I am reading the books in order, and am currently on "HMS Surprise," so what else could be a more perfect accompaniment than this CD? Aubrey is such a multi-layered character, filled with imperfections and bad puns, however he has a great love for music and he plays the violin quite well. Often paired with ship's surgeon Dr. Stephen Maturin on the cello, music is a great release for this sea captain, and the pieces on this CD are fine representations of what Aubrey might have played while on assignment or heard when on land. The selections by Hadyn, Locatelli, Handel, Boccherini and Leclair are pleasant, soothing compositions that are complex and varied enough that they are not redundant, and range from peaceful to nimble. While listening to the CD, I could vividly imagine Jack Aubrey below decks in his cabin and asking Maturin to strike up a tune with him. And then they begin an Andante or an Allegro, allowing Aubrey to set aside his absolutely awful puns and jokes so he can clear his mind and relax. Considering some of the battles he's involved himself in so far in the series, he definitely needs it. Reading his adventures while listening to these charming pieces will relax you as well, and definitely take your imagination to some wondrous places in an era of great change.

Mozart:The Complete Piano Sonatas and Variations

Average customer rating:

like sparkling mineral water
Soulless Rendition
Lovely
Top notch performances
Very good, but a bit misleading?

Mozart:The Complete Piano Sonatas and Variations

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: Complete Piano Sonatas / Daniel Barenboim
Mozart: The Complete Piano Concertos
Beethoven: The Complete Symphonies and Piano Concertos
Mozart: The Violin Sonatas
Beethoven - The Complete String Quartets / Alban Berg Quartet

ASIN: B00004YA0U
Release Date: 2000-11-07

Tracks:

I: Allegro
II: Andante
III: Allegro
I: Allegro Assai
II: Adagio
III: Presto
I: Allegro Moderato
II: Andante Amoroso
III: Rondeau: Allegro
I: Adagio
II: Menuetto I - Menuetto II
III: Allegro
I: Allegro
II: Andante
III: Presto

Tracks:

I: Allegro
II: Rondeau En Polonaise: Andante
III: Tema (Andante) Con Variazioni (I-XII)
I: Allegro Con Spirito
II: Andante Un Poco Adagio
III: Rondeau: Allegretto Grazioso
I: Allegro Maestoso
II: Andante Cantabile Con Espressione
III: Presto

Tracks:

I: Allegro Con Spirito
II: Andantino Con Espressione
III: Rondeau: Allegro
I: Allegro Moderato
II: Andante Cantabile
III: Allegretto
I: Tema (Andante Grazioso) Con Variazioni (I-VI)
II: Menuetto - Trio
III: Alla Turca: Allegretto
I: Allegro
II: Adagio
III: Allegro Assai

Tracks:

I: Allegro
II: Andante Cantabile
III: Allegretto Grazioso
Adagio - Allegro - Andantino - Piu Allegro - Tempo I
I: Molto Allegro
II: Adagio
III: Allegro Assai

Tracks:

I: Allegro
II: Andante Cantabile
III: Allegretto
I: Allegro
II: Andante
III: Rondo
I: Allegro
II: Adagio
III: Allegretto
I: Allegro
II: Adagio
III: Allegretto

Tracks:

Tema ('Laat Ons Juichen'): Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7: Adagio
Variation 8: Tempo I
Tema (Air): Allegro
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5: Adagio
Variation 6: Tempo I
Variation 7
Tema (Menuetto): Andante
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5: Adagio
Variation 6: Allegretto
Tema (Menuet)
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Allegro
Tema (Air): Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8: Tempo Di Menuetto
Variation 9
Variation 10: Allegretto
Variation 11
Variation 12: Molto Adagio
Allegretto

Tracks:

Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Allegro
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Presto
Tema: Andante
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8: Adagio
Variation 9: Allegro
Tempo Di Tema
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7: Adagio
Variation 8: Allegro
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6

Tracks:

Tema: Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9: Adagio
Variation 10: Allegro
(Tempo I)
Tema: Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Allegro
(Tempo I)
Tema: Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8: Adagio
Variation 9: Allegro
(Tempo I)
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7: Adagio
Variation 8: Allegro
(Tempo I)

Customer Reviews:

like sparkling mineral water.......2006-12-22

It is something near to a cleansing experience to listen through the Mozart piano repertoire as performed by Daniel Barenboim.

For starters, Mozart achieves his sparest, cleanest, most limpid lines when writing for solo piano. Then comes Daniel Barenboim, whose reading of Mozart is crisply and unemotionally classical. Not for him the drawn-out keyboard soliloquy. On the contrary, Barenboim gives us Mozart, only Mozart, and nothing but Mozart, clean and shimmering as sparkling mineral water.

This is not to say that Barenboim as pianist is unfeeling. On the contrary, the Fantasia in C Minor - to choose just one example with almost random lack of care - is quite moving. But not with a flourish. Rather, with almost sinewy restraint. The presentation represents a fine grasp of the master composer, nurtured with discipline across the length and breadth of the voluminous sonatas.

Indeed, the sheer volume of the Mozart piano sonatas is intimidating. It is astonishing to imagine one man having mastered it as Barenboim has. EMI Classics has done us the favor of collecting these two gentlemen's asynchronic collaboration in one set, affordable at that.

If Mozart is a musician for the ages and Barenboim a performer who left a formidable imprint on the twentieth century, their collaboration as represented in these recordings is a watershed that will need to be referenced by students of classical piano for at least another hundred years, or until people can only remember as far back as the Dixie Chicks.

Buy Barenboim on Mozart before that happens, and so stick your thumb in the dike against the evil day.

Soulless Rendition.......2005-10-16

I have several artists' renditions of Mozart's piano sonatas in my library. Daniel Barenboim's is the worst. His technique is timid. His rendition is soulless and perfunctory. I regret purchasing this collection. The best rendition I have is the collection of Glenn Gould. If you like Mozart's piano sonatas played the way Mozart intended, give Barenboim a pass and listen to Gould.

Lovely.......2005-03-17

As a pianist myself, I love Barenboim's playing. He does not play Mozart too Beethoven like. His performances are usually VERY good, and this is one example. Also includes the complete variations, which are very nice. The sound quality is excellent. Very highly recommended.

"The sonatas of Mozart are unique: too easy for children, too difficult for adults. Children are given Mozart to play because of the quantity of notes; grown ups avoid him because of the quality of notes." - Artur Schnabel

Top notch performances.......2004-06-17

Daniel Barenboim played this whole set with an interesting approach to WAM . The notations about classical , beethovenian style are always hazardous.
When you are a musician you must avoid in the cliche , and you should feel the music as a whole and the playing must be the consequence of a overlong process that begins in your soul , then your inner mood , your intellect and finally your fingers. I remark the aspect when you are in front of Mozart, Beethoven Wagner, Bruckner, Bach , Schubert and Bartok , because these composers are in a highest level than the others and the music itself is merely a device for expressing deeper issues.
That's why this set is superb. Barenboim plays a Mozart rich in expresiveness , he gives to Mozart presence .
Barenboim plays music as Vegh or Furtwangler did it , always seeking the landscape far beyond the score . That's why they are so original in their performances . The rapture is not a device for exhibite his skills , it''s the final product of a long process.
Acquire this set. It's an unvaluable treasure.

Very good, but a bit misleading?.......2004-05-15

Barenboim playing Mozart has his critics, who say he's "too Beethovian" when performing Mozart's piano sonatas and piano concertos. I disagree; I love his style. Others might not.

Tracks:

Sonata No. 1, Op. 2 In F Minor: 1. Allegro - Beethoven
Sonata No. 1, Op. 2 In F Minor: 2. Adagio - Beethoven
Sonata No. 1, Op. 2 In F Minor: 3. Menuetto. Allegretto - Beethoven
Sonata No. 1, Op. 2 In F Minor: 4. Prestissimo - Beethoven
Sonata No. 2, Op. 2 In A Major: 1. Allegro vivace - Beethoven
Sonata No. 2, Op. 2 In A Major: 2. Largo appassionato - Beethoven
Sonata No. 2, Op. 2 In A Major: 3. Scherzo. Allegretto - Beethoven
Sonata No. 2, Op. 2 In A Major: 4. Rondo. Grazioso - Beethoven
Sonata No. 3, Op. 2 In C Major: 1. Allegro con brio - Beethoven
Sonata No. 3, Op. 2 In C Major: 2. Adagio - Beethoven
Sonata No. 3, Op. 2 In C Major: 3. Scherzo. Allegro - Beethoven
Sonata No. 3, Op. 2 In C Major: 4. Allegro assai - Beethoven

Tracks:

Sonata No. 5, Op. 10 In C Minor: 1. Allegro molto e con brio - Beethoven
Sonata No. 5, Op. 10 In C Minor: 2. Adagio molto - Beethoven
Sonata No. 5, Op. 10 In C Minor: 3. Finale. Prestissimo - Beethoven
Sonata No. 6, Op. 10 In F Major: 1. Allegro - Beethoven
Sonata No. 6, Op. 10 In F Major: 2. Allegretto - Beethoven
Sonata No. 6, Op. 10 In F Major: 3. Presto - Beethoven
Sonata No. 7, Op. 10 In D Major: 1. Presto - Beethoven
Sonata No. 7, Op. 10 In D Major: 2. Largo e mesto - Beethoven
Sonata No. 7, Op. 10 In D Major: 3. Menuetto. Allegro - Beethoven
Sonata No. 7, Op. 10 In D Major: 4. Rondo. Allegro - Beethoven

Tracks:

Sonata No. 4, Op. 7 In E Flat Major: 1. Allegro molto e con brio
Sonata No. 4, Op. 7 In E Flat Major: 2. Largo, con gran espressione
Sonata No. 4, Op. 7 In E Flat Major: 3. Allegro
Sonata No. 4, Op. 7 In E Flat Major: 4. Rondo. Poco allegretto e grazioso
Sonata No. 8, Op. 13 'Pathetique' In C Minor: 1. Grave - Allegro di molto e con brio
Sonata No. 8, Op. 13 'Pathetique' In C Minor: 2. Adagio cantabile
Sonata No. 8, Op. 13 'Pathetique' In C Minor: 3. Rondo. Allegro
Sonata No. 9, Op. 14 In E Major: 1. Allegro
Sonata No. 9, Op. 14 In E Major: 2. Allegretto
Sonata No. 9, Op. 14 In E Major: 3. Rondo. Allegro comodo
Sonata No. 10, Op. 14 In G Major: 1. Allegro
Sonata No. 10, Op. 14 In G Major: 2. Andante
Sonata No. 10, Op. 14 In G Major: 3. Scherzo. Allegro assai

Tracks:

Sonata No. 11, Op. 22 In B Flat Major: 1. Allegro con brio
Sonata No. 11, Op. 22 In B Flat Major: 2. Adagio con molta espressione
Sonata No. 11, Op. 22 In B Flat Major: 3. Menuetto
Sonata No. 11, Op. 22 In B Flat Major: 4. Rondo. Allegretto
Sonata No. 12, Op. 26 In A Flat Major: 1. Andante con Variazioni
Sonata No. 12, Op. 26 In A Flat Major: 2. Scherzo. Allegro molto
Sonata No. 12, Op. 26 In A Flat Major: 3. Marcia funebre sulla morte d'un Eroe
Sonata No. 12, Op. 26 In A Flat Major: 4. Allegro
Sonata No. 13, Op. 27 In E Flat Major: 1. Andante - Allegro - Tempo I - attaca:
Sonata No. 13, Op. 27 In E Flat Major: 2. Allegro molto e vivace - attaca:
Sonata No. 13, Op. 27 In E Flat Major: 3. Adagio con espressione - attaca:
Sonata No. 13, Op. 27 In E Flat Major: 4. Allegro vivace
Sonata No. 14, Op. 27 'Mondschein-Sonate' In C Sharp Minor: 1. Adagio sostenuto - attaca:
Sonata No. 14, Op. 27 'Mondschein-Sonate' In C Sharp Minor: 2. Allegretto - attaca:
Sonata No. 14, Op. 27 'Mondschein-Sonate' In C Sharp Minor: 3. Presto agitato

Tracks:

Sonata No. 16, Op. 31 In G Major: 1. Allegro vivace - L.V. Beethoven
Sonata No. 16, Op. 31 In G Major: 2. Adagio grazioso - L.V. Beethoven
Sonata No. 16, Op. 31 In G Major: 3. Rondo. Allegretto - L.V. Beethoven
Sonata No. 17, Op. 31 'Sturm-Sonate' In D Minor: 1. Largo - Allegro - L.V. Beethoven
Sonata No. 17, Op. 31 'Sturm-Sonate' In D Minor: 2. Adagio - L.V. Beethoven
Sonata No. 17, Op. 31 'Sturm-Sonate' In D Minor: 3. Allegretto - L.V. Beethoven
Sonata No. 18, Op. 31 In E Flat Major: 1. Allegro - L.V. Beethoven
Sonata No. 18, Op. 31 In E Flat Major: 2. Scherzo. Allegretto vivace - L.V. Beethoven
Sonata No. 18, Op. 31 In E Flat Major: 3. Menuetto. Moderato e grazioso - L.V. Beethoven
Sonata No. 18, Op. 31 In E Flat Major: 4. Presto con fuoco - L.V. Beethoven

Tracks:

Sonata No.15, Op. 28 'Pastorale' In D Major: 1. Allegro
Sonata No.15, Op. 28 'Pastorale' In D Major: 2. Andante
Sonata No.15, Op. 28 'Pastorale' In D Major: 3. Scherzo. Allegro vivace
Sonata No.15, Op. 28 'Pastorale' In D Major: 4. Rondo. Allegro, ma non troppo
Sonata No. 19, Op. 49 In G Minor: 1. Andante
Sonata No. 19, Op. 49 In G Minor: 2. Rondo. Allegro
Sonata No. 20, Op. 49 In G Major: 1. Allegro, ma non troppo
Sonata No. 20, Op. 49 In G Major: 2. Tempo di Menuetto
Sonata No.21, Op. 53 'Waldstein-Sonate' In C Major: 1. Allegro con brio
Sonata No.21, Op. 53 'Waldstein-Sonate' In C Major: 2. Introduzione. Adagio molto - attaca:
Sonata No.21, Op. 53 'Waldstein-Sonate' In C Major: 3. Rondo. Allegretto moderato
Sonata No. 23, Op. 57 'Apassionata' In F Minor: 1. In tempo d'un Menuetto
Sonata No. 23, Op. 57 'Apassionata' In F Minor: 2. Allegretto

Tracks:

Sonata No. 23, Op. 57 'Appasionata' In F Minor: 1. Allegro assai
Sonata No. 23, Op. 57 'Appasionata' In F Minor: 2. Andante con moto - attaca:
Sonata No. 23, Op. 57 'Appasionata' In F Minor: 3. Allegro, ma non troppo - Presto
Sonata No. 24, Op. 78 In F Sharp Major: 1. Adagio cantabile - Allegro, ma non troppo
Sonata No. 24, Op. 78 In F Sharp Major: 2. Allegro vivace
Sonata No. 25, Op. 79 In G Major: 1. Presto alla tedesca
Sonata No. 25, Op. 79 In G Major: 2. Andante
Sonata No. 25, Op. 79 In G Major: 3. Vivace
Sonata No. 26, Op. 81a 'Les Adieux' In E Flat Major: 1. Das Lebewohl (Les Adieux): Adagio - Allegro
Sonata No. 26, Op. 81a 'Les Adieux' In E Flat Major: 2. Abwesenheit (L'Absence): Andante espressivo
Sonata No. 26, Op. 81a 'Les Adieux' In E Flat Major: 3. Das Wiedersehn (Le Retour): Vivacissimamente
Sonata No. 27, Op. 90 In E Minor: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Sonata No. 27, Op. 90 In E Minor: 2. Nicht zu geschwind und sehr singbar vorzutragen

Tracks:

Sonata No. 28, Op. 101 In A Major: 1. Etwas lebhaft und mit der innigsten Empfindung: Allegretto, ma non troppo
Sonata No. 28, Op. 101 In A Major: 2. Lebhaft, marschmassig: Vivace alla Marcia
Sonata No. 28, Op. 101 In A Major: 3. Langsam und sehnsuchtsvoll: Adagio, ma non troppo, con affetto - attaca:
Sonata No. 28, Op. 101 In A Major: 4. Geschwinde, doch nicht zu sehr und mit Entschlossenheit: Allegro
Sonata No. 29, Op. 106 In B Flat Major: 1. Allegro
Sonata No. 29, Op. 106 In B Flat Major: 2. Scherzo. Assai vivace
Sonata No. 29, Op. 106 In B Flat Major: 3. Adagio sostenuto. Appasionato e con molto sentimento
Sonata No. 29, Op. 106 In B Flat Major: 4. Largo - Allegro risoluto

Tracks:

Sonata No. 30, Op. 109 In E Major: 1. Vivace, ma non troppo - L.V. Beethoven
Sonata No. 30, Op. 109 In E Major: 2. Prestissimo - L.V. Beethoven
Sonata No. 30, Op. 109 In E Major: 3. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) - L.V. Beethoven
Sonata No. 31, Op. 110 In A Flat Major: 1. Moderato cantabile molto espressivo - L.V. Beethoven
Sonata No. 31, Op. 110 In A Flat Major: 2. Allegro molto - L.V. Beethoven
Sonata No. 31, Op. 110 In A Flat Major: 3. Adagio, ma non troppo - Fuga. Allegro, ma non troppo - L.V. Beethoven
Sonata No. 32, Op. 111 In C Minor: 1. Maestoso - Allegro con brio ed appassionato - L.V. Beethoven
Sonata No. 32, Op. 111 In C Minor: 2. Arietta. Adagio molto semplice e cantabile - L.V. Beethoven

Amazon.com

Wilhelm Kempff was the premier German pianist of the postwar period, so it's no surprise that he was considered one of the supreme interpreters of Beethoven. He recorded complete sets of the sonatas and concertos twice, and just about all the rest of the chamber music with piano as well. Kempff was a classicist by nature, and his approach to Beethoven was clear and poised rather than impulsive, but it was never lacking in sheer power or virtuosity when necessary. His last cycle of Beethoven sonatas is rightly regarded as his musical testament. Even if the mono recordings offered a few more exciting moments in a couple of works, you can't go wrong here--there isn't a dud in the lot. --David Hurwitz

Customer Reviews:

The final testament of a great classicist.......2005-11-10

I waited a long time before finally buying this. I already had Gilels, Barenboim, Schnabel, Richter(for almost all),Annie fischer(a damn fine set also!) Brendel, and Arrau. I have always held gilels monumental set in the highest regard for its mixture of respect and power, beauty and ferocity. I knew that the Kempff box had ggod things, but after all these former sets, what knew could be said(similar to what i thought about michelangeli before i heard his op 2\3 and debussy preludes) But this set kept popping up in my life. Over and over respectable musicians kept hinting that this was the set to go for, a modern answer to schnabel's initial recording. Finally I bought it and my only regret is that i didnt succumb to it sooner. Kempff is, in my mind, not the most exciting of pianist's, but he everything that our modern school is not, in the best sense of the word. His sound and touch is crystalline, his authority over the notes unequalled. There isnt any of these sonata's i dont turn to when i want to investigate them for myself with score at hand, which in a word, can be described as revelatory. Dont hesitate like I did. Who knows maybe, in this age of classical deprecation, it may disappear before you had the chance. It is the end all of Beethoven interpretation. It lacks the machismo of Gilels, and Richter for that matter, but what it lacks in the thunder it makes up for in the calm of the storm.

Wilhelm Kempff Plays the Beethoven Piano Sonatas.......2005-08-17

Beethoven's "Tagebuch" includes the following famous entry: "The starry heavens above, the moral law within -- Kant!" Beethoven was alluding to Kant's statement in the "Critique of Practical Reason" of the two things that filled him with awe. But, in a simple way, Beethoven's statement could be read to show two related ways of understanding his music: the first as heroic, heaven-storming, and outwardly directed, and the second as inward, reflective, and meditative. Some of Beethoven's music can be seen as occupying on or the other end of the polarity. Much of the music somehow occupies both ends.

The same holds true as a rough approach to the performance of Beethoven's music -- including the 32 piano sonatas. Some artists emphasize the dramatic, rugged and virtuosic characteristics of the sonatas while others focus upon the music's inward and introspective qualities. The great German pianist Wilhelm Kempff's classic recording of the complete piano sonatas is clearly within the latter approach. Kempff (1895 -- 1991) recorded the complete Beethoven sonata-cycle twice, the first time in the 1950s and the second time in the 1960s. I had the original version on LP and purchased the CD set when LPs became obsolete. I recently had the opportunity to relisten to Kempff's renditions of the sonatas in their entirety.

Kempff's readings of the sonatas are highly personal and introspective. His tempos tend to be slow and fluid, the pedal is used a great deal, phrasing is highly legato, and volume is, for the most part, subdued and restrained. He offers a metaphysical, thoughtful reading of Beethoven which probes within. It is a moving and convincing way of rendering the sonatas, and I came away from my experience with the set over the past several days with a renewed devotion to this music. I have attempted about half of the sonatas myself over the years on the piano.

Beethoven's sonatas date from his youthful years in Bonn before his 1792 move to Vienna (the two sonatas of opus 49) to about 1822 (opus 111), five years before the composer's death. Thus, they occupied Beethoven for almost the entirety of his creative life. In listening to this complete set, the listener can follow Beethoven's development essentially chronologically and learn more first-hand about the sonatas and about the changes in Beethoven's styles of composition than can be gained from reading many studies.

Listeners interested in a complete set of the Beethoven sonatas will probably have some familiarity with some of the better-known
named sonatas, such as the "Pathetique", opus 13, the "Moonlight" opus 27 no. 2, the "Waldstein", opus 53, or the "Appassionata", opus 57. After falling in love with some of these works, it will be time for the listener to explore the entire series.

Kempff brings his own personal and introspective readings to each of these familar works. I think he does best with the rondo finale of the "Waldstein," with the "Moonlight" sonata, and with the two final movements of the "Tempest", opus 31 no. 2. His readings of these familiar works on the whole will offer fresh insight into these great sonatas.

But the greatest attraction of this set is the opportunity it provides to explore some of Beethoven's less frequently performed works. Again, Kempff is at his best in works of an introspective character. Thus, those coming to the sonata-cycle for the first time will enjoy his performances of the opus 26 sonata, with the opening variations and the celebrated funeral march, of opus 78, 79, and 81a ("Les Adieux"), of opus 90, and of opus 101, 109, 110, and the great end to the series, opus 111. Opus 90, 101, and 109 are particular favorites of mine, and Kempff plays them beautifully.

There is yet another group of sonatas that also receive excellent readings on the set. This group includes two excellent ambitious early works, opus 2 no. 3 and opus 7 (another favorite), the three sonatas of opus 10, the under-appreciated opus 22, the companion to the more famous "Moonlight" sonata, opus 27 no. 1, opus 31 no. 3 and the enigmatic opus 54, sandwiched between the "Waldstein" and the "Appassionata". The magisterial and heroic "Hammerklavier" sonata, opus 106, is in a class by itself. Each listeners's choices and fovorites among the 32 will vary and change with time and repeated hearings. This collection is an excellent introduction to all of them.

There are many recordings of the set of 32 sonatas and many approaches to the interpretation of Beethoven. His music is broader and deeper than any single reading. I have lived with my set of Kempff for a long time and am still moved and inspired by his playing of this inexhaustible music. Listeners wanting to get to know this great body of work will find much to cherish in these performances by Wilhelm Kempff.

Robin Friedman

full of artistry, very nice........2005-06-06

Among the great pianists who played Beethoven's sonatas, I love Kempff and Gilels most. Kempff's play is colorful(also with cleaness), while Gilels's play is clean. Of course,if you only prefer highly keyboard technique, Pollini is a better choice.

I think, Kempff was born not only as a great pianist, but also as a musical artist. listen to Kempff just like listen to a small orchestra(among instruments, only piano can do this). His left hand accompanied very well and his right hand song nicely. Some one may say Kempff lacks energetics, but I prefer his style---just like a stream flows naturally, accompanied with birds and flowers.

unlike some energetically played pianists, I never get tired in listening to Kempff. Though those CDs was recorded in 60s, the sonic quality is good enough. highly recommended.

Which One To Get, That Is The Question.......2005-02-10

For those who are not too familiar with Kempff, he is generally regarded as one of the most reputed Beethoven interpreter after Schnabel. Gulda was supposed to succeed them and was somehow stopped short. In Kempff, just like most pianists of the older generation, there is a strong element of improvisation, an element in the making of music which make him sound so fresh and spontaneous which left even Brendel way behind. Furthermore, his playing is so inspired that it never fails to remind us of some transcending church music.

Having said that, Kempff even in the 50s, was never quite as dynamic as Gulda; whereas some may instead find Schnabel's Beethoven even more instructive and not at all less inspired. But Schnabel's are all historic recordings. My no.1 choice for these sonatas is always Backhaus (Decca, in wonderful stereo sound), for some may find Arrau's early Beethoven sonatas boring and Gilel's (which is not exactly a whole cycle in any event) not soulful enough, however much conviction he had for them. And to be honest, I have never finished Brendel's and I have never even tried Ashkenazy's Beethoven except his piano trio with Perlman and Harell and somehow I just stopped there...

Roughly speaking, Kempff's 50s cycle is more energetic, fiery and forceful, wheras his 60s is more colourful, more sublime, and with more subtleties. But that doesn't mean he was off his peak or insufficiently fiery (unlike Schnabel whose first cycle is more preferable than his second cycle recorded in the 50s). Being a complete musician as well as a remarkable composer, there was still some obvious development in his music making even between these two cycles which makes him fairly and squarely an authoritative alternative even to Backhaus: another reason that we should try to listen to both.

And as far as the recorded sound is concerned, there is the difference of more than one whole generation, so that the ordinary music lovers may not find the 50s recording delightful or acceptable at all; whereas few could really complain against the sound of the 60s.

So, if you are a pianist, or if you are a fan of Kempff, you probably will get both his 50s and 60s recordings: for like most great pianists or indeed most great musicians, every time they play, it is going to be different and they are all instructive and inspiring in their own way. I myself grapped both. But if your emphasis is on the early sonatas or just for general enjoyment or even for the last sonatas, it is better to get the 60s.

essential.......2004-06-02

what else can you say about kempff that isn't said before? this is the best beethoven ever record, he has a magic touch and this sets clearly shows it off. i have both recordings of his beethoven sonatas (1951 & 1964) as well as his schumann, brahms, schubert, bach, mozart, liszt etc and would recomand them all... enjoy the piano master

Average customer rating:

One of the best compilations
Mitsuko the light on keybord.
Please ignore the low reviews on this set!
Weird, weird recording
1991 Gramophone Award Winner

Mozart: The Piano Sonatas

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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ASIN: B00005QDYG
Release Date: 2003-10-28

Tracks:

Piano Sonata In C,Kv 279[189d]-Allegro
Piano Sonata In C,Kv 279[189d]-Andante
Piano Sonata In C,Kv 279[189d]-Allegro
Piano Sonata In F,Kv 280[189e]-Allegro Assai
Piano Sonata In F,Kv 280[189e]-Adagio
Piano Sonata In F,Kv 280[189e]-Presto
Piano Sonata In Bb,Kv 281[189f]-Allegro
Piano Sonata In Bb,Kv 281[189f]-Andante Amoroso
Piano Sonata In Bb,Kv 281[189f]-Rondeau[Allegro]
Piano Sonata In Eb,Kv 282[189g]-Adagio
Piano Sonata In Eb,Kv 282[189g]-Menuetto 1 & 2
Piano Sonata In Eb,Kv 282[189g]-Allegro
Piano Sonata In G,Kv 283[189h]-Allegro
Piano Sonata In G,Kv 283[189h]-Andante
Piano Sonata In G,Kv 283[189h]-Presto
Allegro
Rondeau En Polonaise (Andante)
Tema Con Variazioni
1. Allegro Con Spirito
2. Andante, Un Poco Adagio
3. Rondeau (Allegretto Grazioso)
1. Allegro Maestoso
2. Andante Cantabile Con Espressione
3. Presto
1. Allegro Con Spirito
2. Andantino Con Espressione
3. Rondeau (Allegro)
1. Allegro Moderato
2. Andante Cantabile
3. Allegretto
1. Tema (Andante Grazioso) Con Variazioni
2. Menuetto
3. Alla Turca (Allegretto)
1- Sonata In F, Kv 332-300k - Allegro
2- Adagio
3- Allegro Assai
1- Sonata In B Flat, Kv 333-315c - Allegro
2- Andante Cantabile
3- Allegretto Grazioso
Fantasia In C Minor Kv 475 (Adagio - Allegro - Andantino - Piu` Alleg Ro - Tempo I)
1- Sonata In C Minor, Kv 457 - Molto Allegro
2- Adagio
3- Allegro Assai
1. Allegro
2. Andante
3. Rondo (Allegro)
1. Allegro
2. Adagio
3. Allegretto
1. Allegro
2. Adagio
3. Allegretto
1. Allegro, Kv 533
2. Andante, Kv 533
3. Rondo (Allegretto ), Kv 494

Customer Reviews:

One of the best compilations.......2007-05-06

Classic Mitsuko Uchida. She loves Mozart, and you can tell from this ultra slim box set.

Mitsuko the light on keybord........2007-01-12

always wanted the complete piano sonatas from Mozart on my player to hear it uninterrupted, and this recording gives me the greates listening pleasure. i fallowed Miss Uchida from Wienna, when she was a sudent there in the late 1950's, and her playing became the finest interpretation of Mozart;-and she must have known Bela Bartok's take on the piano as a percussion instrument, and her oriental background help to bring wonderful coloration to her sound,palyfulness, and lightness,as if sunlight bouces off from fresh snow.
--would Mozart love to hear her playing? he would dance with her.--A B Vizy.

Please ignore the low reviews on this set!.......2006-04-12

There are already several excellent reviews of Uchida's performance of Mozart's piano sonatas, so no need to repeat or elaborate on these well done efforts. But I must warn against putting much credence into the lowly ratings (of 1 to 2 *) - these should be stricken from the reviews listing. I bought this set when released based on having own several single discs in the past, the excellent reviews received in several of the publications already mentioned, and opinions of those I respect in the Good Music Guide forum (good-music-guide.com); if fact, there is an ongoing thread there w/ a poll, and Uchida is receiving about a third of the votes (dozen or so pianists listed) as the top cycle for these compositions. Surprisingly, Klara Wurtz's box set of these pieces on the Brilliant label (i.e. a great value) is in second in the poll - indeed, I purchased this as a 'second' set elsewhere for only $20 - just superb (5* ratings on Amazon), and will need several more hearings to see who I prefer. But, I don't believe you can go wrong w/ either of these box sets.

Weird, weird recording.......2006-03-09

I only gave this 1 star because its a required feild, I can't enter 0.
I am still finding it hard to believe this set of recordings passed quality control before being burnt to CD.
Didn't anyone listen to them first?
The recording technique is trully awful and given that this is modern recording, there is no excuse. There are a lot of strange resonances going on at a level which seriously interferes with the actual music. Not only that, arpeggios are like Uzzi submachine guns wherein the sound of the ivories hitting the wooden keyboard base are so much louder than the notes it's like a woodpecker hacking into a redwood while very quietly humming the tune in the background.
In fact this is a great recording of everything except the music.
Weird!
I didn't understand someones comment until I heard Barenboims set of sonatas, but now I do. Uchidas' playing here really is like someone reading it for the first time, no colour, no life. In fact a painting by numbers picture before being coloured in.
Don't get me wrong, I wish I could play half as well as her but if you want to hear the best, this isn't it.
So far the best I've heard is Barenboim but I'll soon investigate Brautigam, Baruda-Skoda and Moravec... great fun but i guess we have to accept a few disappointments like this on our expedition.

1991 Gramophone Award Winner.......2005-02-12

Mozart's piano sonatas are sometimes devalued by critics as "lesser compositions" in Mozart's vast output. Of course when there are 626 works in total, some will be truly monumental, some merely masterful and others somewhat average and less consequential compared to the creme. To fully appreciate the piano sonatas of Mozart, one needs a little perspective. In Mozart's piano sonatas we see a bit more of the utilitarian need to produce music suitable for the "home market" - sometimes even used merely for musical lessons for a patron's child. What we often have here is typically pleasant parlor music - which was one goal of the more "simple" compositions in this set. This is one of the minor downsides of "let's hear it all" complete collections like this ... not all pieces will be stunning masterpieces. So, to one not familiar with this context, there can be feeling of the music being a bit "let down" after listening to some of these more simple sonatas - especially if there is an expectation for them to possess the magnitude of Beethoven's or Schubert's grand piano sonata conceptions.

Although more humble as a whole, Mozart's Piano Sonatas still possess a brilliance and that magical "Mozart touch." Take sonatas like K570 which have a surface innocence over a foundation of serious emotional and intellectual depth. Clearly, Mozart had a way of taking a simple, child-like lyrical theme and developing it via sonata form into something effortlessly melodic and classically perfected. All the sonatas are here enjoyable and highly musical in their own right. Additionally, I also think much of this music really fits well into the world of young children: innocent, lyrical, gentle and not too much at once. But, like Artur Schnabel once said, "Mozart's sonatas are easy for children but difficult for adults." While some pieces are seemingly simple and make for wonderful, soothing background music (disc 5), there are plenty of dynamic, vituostic sonatas here - such as the popular K.330-333, the pathos-laden K.310 (a rare minor-key sonata) and especially the two passionate works in C minor (K457 and K475).

The typically warm, sensitive and expressive style of Mitsuko Uchida brings out the best in Mozart's sonatas as she finds just the right "classical-era spirit" in the music. In the lilting allegros and rondos, Uchida recreates that legendary "bouncy" Mozart tempo and youthful enthusiasm, while still finding the occasional pathos when called for in certain moments. The sound of her piano is somewhat reminicent of a Mozart-era fortepiano with its sharp attack and quick decay. In fact, Mozart took such instrument dynamics into consideration in his fast-moving legato writing. For some at first (me included), this kind of sound may seem somewhat "dry" (as another Amazon reviewer notes as well). But perhaps Ms. Uchida is trying to stay closer to the spirit of the music by her choice of instrument, following Mozart's markings (minimal changes in dynamics) and minimizing the power of the modern grand by largely avoiding use of the sustaining pedal (an invention which arrived late in Mozart's time that whose potential fascinated to him). So, I think the sound fits the idiom well ... but I still find the sound quality a bit thin and slightly unfulfilling nevertheless. However, it is certainly not disappointing enough to keep one from acquiring the set and fully enjoying the music. Just imagine Mozart playing his little fortepiano to tickle the fancy of the fickle Viennese aristocrats, and the sound of Uchida's piano and playing fall nicely into place.

This set received two legendary critic awards: a coveted Penquin Guide "Rosette" and the 1991 Gramophone Award as well as a listing as a top "Recommended Recording" - which certainly is fine critical acclaim. Additionally, Gramophone says of this landmark set: "This is unfailing clean, crisp and elegant playing that avoids anything like a romanticised view. Indeed her complete series is a remarkable achievement, comparable with her fine account of the piano concertos ... an unqualified recommendation is in order for what must be one of the most valuable volumes in the Philips's Complete Mozart Edition."

Another complete set that is high on many's list and worth hearing comes is by Eshenbach. His was my second choice. Andras Schiff is also known for a very lyrical and warm-sounding Mozart and his Decca complete cycle is also satisfying (but it lacks some of the magic Uchida brings). A cycle that did not seem to recreate the 18th-century spirit of these sonatas was that of Spaniard Alicia de Larrocha - whose full, grand piano sound and greater embellishments did not seem to fit the genre as well as Uchida's more intimate pianism and sound (to me at least). Russian pianist Mikhail Pletnev brings his characteristic dynamism and dazzling velocity to K.330-332/K.457 in a 2006 DG release (that did not garner great music-industry reviews though). But, it really comes down to what stylistic nuances most captures your interest and emotion, so it is best to pick what you like best and enjoy the music. But it may be hard to top Mitsuko Uchida in Mozart's sonatas. Most major reviews I have read seem to think so too. Compositions - 4 stars; Performance - 5 stars; Sound - 4 stars.

Mozart: The Piano Sonatas; Fantasias & Rondos

Average customer rating:

Wonderful articulation is her hallmark
Amazing performances of amazing music!
Good Performance, bad recording
Devoted collection by a mature virtuoso.

Mozart: The Piano Sonatas; Fantasias & Rondos

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000CNTLW
Release Date: 2003-12-09

Customer Reviews:

Wonderful articulation is her hallmark.......2007-07-09

The collection is spectacular. Larrocha's nimble fingers and clear articulation make it a joy to listen to her interpretations of Mozart. The very familiar "A la turca" is given a lighthearted yet sensitive interpretation that makes it a great listening experience. This is definitely a set to own.

Amazing performances of amazing music!.......2006-09-27

I can't compare this to other Mozart Sonata cycles, but after looking hard at which set to purchase, I bought these and have been extremely pleased. I have not noticed any recording problems with the 2nd and 3rd disks, but I am no expert. I think the whole set sounds wonderful! And you cannot beat the price. I just wish she had a complete cycle of Mozart's Piano Concerti available!

Good Performance, bad recording.......2004-09-14

The performance of Laroccha is exceptional, the trills are fantastic and some of the sonatas are almost perfect. The whole compilation sounds very mozartian and may disturb some people that are used into more sweet and passion performances. However the recording of the 2nd and 3rd CD is terrible, it sounds like there is echo in the recording and it becomes very annoying and fuzzy. The key of a good mozart recording is brightness and music purity, which definately this compilation lacks.
Brendel's mozart sonatas sound better for me, however he has not recorded all of them in a single complilation such as this.

Devoted collection by a mature virtuoso........2004-02-07

Listen to Alicia de Larrocha performing the exposition of the first movement of Mozart's Piano Sonata in Bb major, K. 333--my favorite of the great composer's sonata; the absolute pinnacle of Classical beauty. You will hear a consummate artist devoted to the detail and refinement of this glorious music. Collected here in 5 CDs are the complete Mozart Sonatas and a few minor works to fill out the discs. I don't believe in the concept of a 'definitive' performance or recording-especially for a body of work as extensive and diverse as this, and so would never claim such a title for this or any performance-but de Larrocha's set is definitely worth having. She takes a refined, subtle approach, never exaggerating or turning Mozart into a Romantic, but always emphasizing the Classical sense of balance. Even in as "romantic" a work as the Presto of the Sonata in A minor K. 310, she plays expressively and emotionally, but within a Classical aesthetic, always exercising great control and touch. Dynamics and tempi are varied, certainly, but within a more discrete range than some of our more flamboyant pianists. This, for me, is the charm of de Larrocha's approach-perhaps, for some listeners, its downfall. Here's where the concept of definitive recordings fails completely. Do we try to listen to Mozart in an historical context, as he himself might have heard it, or do we take a Postmodern approach? Having lived after the Romantic period and even the Twentieth Century now, do we perform and prefer Mozart played on an instrument he never knew, allowing innovations of interpretation developed after his death to shape a new vision of his works? Both are possible, and in today's world, where Bond and Maksim pass unremarked as Classical musicians to my great disgust, mass audiences give no favor to historical context. De Larrocha clearly prefers the informed, appropriate approach, although she plays on a modern grand piano, and the music glows under her loving hands. Listen, for example, to the lovely Adagio from K. 280, one of Mozart's earlier sonatas.

Tracks:

Sonata In B Flat Major D 960: 1. Molto Moderato
Sonata In B Flat Major D 960: 2. Andante Sostenuto
Sonata In B Flat Major D 960: 3. Scherzo. Allegro Vivace
Sonata In B Flat Major D 960: 4. Allegro Ma Non Troppo
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 1. Allegro Moderato
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 2. Allegro
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 3. Adagio
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 4. Scherzo. Allegro
Five Piano Pieces D 459 & D 459A ('Sonata In E Major'): 5. Allegro Patetico

Tracks:

Sonata In C Minor D 958: 1. Allegro
Sonata In C Minor D 958: 2. Adagio
Sonata In C Minor D 958: 3. Menuetto. Allegro
Sonata In C Minor D 958: 4. Allegro
Sonata In A Major D 959: 1. Allegro
Sonata In A Major D 959: 2. Andantino
Sonata In A Major D 959: 3. Scherzo. Allegro Vivace
Sonata In A Major D 959: 4. Rondo. Allegro

Tracks:

Sonata In G Major D 894(Op. 78): 1. Molto Moderato E Cantabile
Sonata In G Major D 894(Op. 78): 2. Andante
Sonata In G Major D 894(Op. 78): 3. Menuetto. Allegro Moderato
Sonata In G Major D 894(Op. 78): 4. Allegretto
Sonata In D Major D 850 (Op. 53): 1. Allegro Vivace
Sonata In D Major D 850 (Op. 53): 2. Con Motto
Sonata In D Major D 850 (Op. 53): 3. Scherzo. Alegro Vivace
Sonata In D Major D 850 (Op. 53): 4. Rondo. Allegro Moderato

Tracks:

Sonata In A Minor D 845 (Op. 42): 1. Moderato
Sonata In A Minor D 845 (Op. 42): 2. Andante Poco Mosso
Sonata In A Minor D 845 (Op. 42): 3. Scherzo. Allegro Vivace - Trio. Un Poco Piu Lento
Sonata In A Minor D 845 (Op. 42): 4. Rondo. Allegro Vivace
Sonata In C Major 840 ('Reliquie' - Fragment): 1. Moderato
Sonata In C Major 840 ('Reliquie' - Fragment): 2. Andante
Sonate In A Minor D 784 (Op. 143): 1. Allegro Giusto
Sonate In A Minor D 784 (Op. 143): 2. Amdante
Sonate In A Minor D 784 (Op. 143): 3. Allegro Vivace

Tracks:

Sonata In a Major D 664 (Op. 120): 1. Allegro Moderato
Sonata In a Major D 664 (Op. 120): 2. Andante
Sonata In a Major D 664 (Op. 120): 3. Allegro
Sonata In F Minor D 625: 4. Allegro
Sonata In F Minor D 625: 2. Scherzo. Allegretto
Sonata In F Minor D 625: 3. Allegro
Sonata In B Major D 575 (Op. 147): 1. Allegro Ma Non Troppo
Sonata In B Major D 575 (Op. 147): 2. Andante
Sonata In B Major D 575 (Op. 147): 3. Scherzo. Allegretto
Sonata In B Major D 575 (Op. 147): 4. Allegro Giusto

Tracks:

Sonata In E Flat Major D 568 (Op. 122): 1. Allegro Moderato
Sonata In E Flat Major D 568 (Op. 122): 2. Andante Molto
Sonata In E Flat Major D 568 (Op. 122): 3. Menuetto. Allegretto
Sonata In E Flat Major D 568 (Op. 122): 4. Allegro Moderato
Sonata In A Major D 557: 1. Allegro Moderato
Sonata In A Major D 557: 2. Andante
Sonata In A Major D 557: 3. Allegro
Sonata In E Minor D 556 (First And Second Movements): 1. Moderato
Sonata In E Minor D 556 (First And Second Movements): 2. Allegretto

Tracks:

Sonata In A Minor D 537 (Op. 164): 1. Allegro Ma Non Troppo
Sonata In A Minor D 537 (Op. 164): 2. Allegretto Quasi Andantino
Sonata In A Minor D 537 (Op. 164): 3. Allegro Vivace
Sonata In C Major D 279 (Fragment): 1. Allegro Moderato
Sonata In C Major D 279 (Fragment): 2. Andante
Sonata In C Major D 279 (Fragment): 3. Menuetto. Allegro Vivace
Sonata In E Major D 157(Fragment): 1. Allegro Ma Non Troppo
Sonata In E Major D 157(Fragment): 2. Andante
Sonata In E Major D 157(Fragment): 3. Menuetto. Allegro Vivace

Amazon.com

Wilhelm Kempff was a master of poetic lyricism, with a wondrous keyboard touch and a breathtaking command of subtle dynamics and tonal colorations--all invaluable attributes of any Schubert interpreter. He also had the knack of holding together large structures that can often seem aimless, thus avoiding another trap many pianists fall into, that of lavishing so much attention on passing detail that Schubert's "heavenly lengths" can seem wayward wanderings. The one criticism often heard is that Kempff emphasizes poetry at the expense of drama. This magnificent set leaves that claim unsubstantiated.

Few pianists have been so successful, for example, in what may be Schubert's wildest single movement, the nightmarish Andantino of the A major Sonata, D. 959. Here, Kempff captures the tortured mood of the piece to perfection without breaking its Classical frame. Tempos are generally expansive, but Kempff's tonal luster and unerring sense of natural phrasing never make you want him to step on the accelerator. A special treat is the inclusion of rarely heard early works. Some of these were left unfinished; others reflect a composer still mastering his craft. But most are of more than passing interest, and some have an enchanting, aching beauty. Kempff's Schubert set has been a recording classic since its release on LP; its availability in a space-saving CD box at a budget price is cause for celebration. --Dan Davis

Customer Reviews:

Sometimes the old ways are the best.......2007-04-27

Kempff himself wrote the liner notes to this highly satisfying set and states the following: "The deeper we penetrate into the world of Schubert, however, the greater is our surprise at discovering that the 'heavenly length' for which he is reproached is to be regarded relatively. If the length becomes evident as longueurs, the fault lies with the interpreter (I speak from my own experience...)." Indeed, in listening to Kempff play the Schubert sonata canon the thoughts of "overly long" or "needlessly repetitive" never entered my head. Barring some extraordinary performances of individual sonatas over the years, such as Richter's old Russian recording of the c minor (D 958) on Melodiya or Serkin's equally old recording of the B-flat (D 960), this is the best playing of the Schubert sonatas I know.

I used to think of some of the earlier sonatas as practice or training pieces for the later masterworks (which of course by definition they are, but they need not be viewed retrospectively from the vantage point of the late works). Unfortunately, they often sound boring and immature. This is due to defects in players and the playing, not a problem with Schubert. Kempff makes all the sonatas here, including the early ones, glow with the utmost musicality so they stand on their own as beautiful works. Just one example: In the earlier of the a minor sonatas he handles little secondary figures that are intercalated within major theme phrases in an amazingly musical and beautiful way. As a pianist myself, I could never figure out how to make them unobtrusive, let alone desirable. Under Kempff's fingers they fit sublimely into the fabric of the work. The playing is clearly layered, every note and phrase has its place and purpose, his internal logic is such that nothing Schubert wrote sounds less than as it should. One more example: The first movement of the G major sonata ("Fantasy" sonata, D 894) floats in its ethereal haze but goes fast, not slow. Kempff can produce the effect of suspended animation without suspending the actual motion. This is no doubt what Schubert intended but it is very difficult to pull off as a performer. Kempff's treatment of the last 5 sonatas (D, G, A, c minor, and B flat) is breathtaking.

This set is a revelation. What a magnificent panorama of Schubert's development as a composer! Also, the origins of later composers' styles can be traced to Schubert's writing for piano. The roots of Bruckner's iterated and protracted symphonies can be heard, for example, in the way the finale of the a minor sonata begins. (I don't think this is apparent from other players, who lack Kempff's lyricism and mysticism.) Included beside the actual titled sonatas are various fragments of incomplete sonatas and collections of piano pieces that in effect are untitled sonatas (such as D 459/459A).

The recordings are from around 1965-1970 and the piano sound is singing, glowing, radiant. I recommend this set wholeheartedly to anyone interested in great musicianship, masterly piano playing, Schubert's piano music, and Schubert's evolution as a composer. Kempff makes you realize that the magic didn't all happen in the last year of Schubert's life, and I can't think of another pianist who does that for me. (There are few, if any, major players of Schubert with whom I'm not familiar.) Kempff was the leading German pianist of the immediate post-WW II era, but I think he has largely been forgotten. His Schubert, Beethoven, and Brahms are wonderful. Modern players, despite their steel fingers and elephantine endurance and machine-like (sometimes machine-gun-like) techniques, stand to learn a lot from this old master's art.

The Love of Schubert.......2007-03-30

Absolutely must have for true music lover and particularly the music of Schubert. This is already an old recording but still stands up the comparison with later, newer CD's ( Brendel, Schiff,Lupu, Perahia). Kempff, the old master, now deceased, left a memorable,moving and romantic in spirit rendition of Schubert Piano Sonatas (the first complete set). I heard Kempff performed in live, and always thought of him as the greatest German Romantic Pianist.
This set is the work of true love.

Great, but Prefer the Schiff.......2006-08-06

How can it be that the Schiff cycle is out of print? How does that concept even make sense in 2006?

The one review on the late sonatas by Schiff holds some clues as to why they are so special.

I know that years of listening produces version biases, but I really did try and look past that here, but the C minor 958 is so much less dramatic and compelling in this version. The Schiff version is very hypnotic. Kempff's tempos are totally different. It is interesting, during the runs, there is a tremendous sense of fluidity in Kempff's sound, but in the rest of the piece, it sounds too mechanical. The same holds for some of the others, though in some of the pieces, for instance, 568, the results are less pronounced.

Ironically, I usually like the less embellished versions of pieces, especially when a composer like Beethoven is involved and performers reinterpret him as a romantic, but in this case, the opposite is true. 958 in Schiff's version sounds like one of the towering achievements of solo piano. Here, the elements are all there, but the overall effect is lost.

Elegance, accuracy and expressiveness!.......2006-01-24

These gems recordings are authentic milestones performances. Because there has not been any other pianist capable of making sing the piano like Wilhelm Kempff. His fingering is precise and crystalline, the cantabiles are sumptuous and the arpeggios are phrased with such clarity and expression, that hardly you will be able to forget it.

Go for these performances. They are part of the legend.

Heavenly Length and Breadth.......2006-01-11

There are a number of classical pianists who perform Schubert's piano sonatas extremely well (Brendel, Uchida, Schiff, and Richter come immediately to mind), all of whom bring their own individual brilliance to this music. Given that it is probably impossible to render the "best" performance of each of these pieces, the question arises as to why anyone would want to invest in one musician's complete recordings of these sonatas.

My analysis of this question takes into account several factors. The first of these is economic. The Kempff set is budget price and a significant savings over the acquisition of the sonatas by other artists. Even if economics are not a factor, it may be valuable to compare Kempff's way with these pieces with other pianists and this set will allow the collector to at least have one complete set for comparison purposes.

The basis for investing in these recordings is, however, far from solely economic. There seem to be two components a successful Schubertian must bring to the sonatas: an ability to properly convey the various dynamic markings found in each piece and the ability to understand and convey the complete architecture of each piece, instead of being caught up in the various eddies that so many of the movements contain with them. Kempff is able to satisfy both of these components brilliantly. These albums contain what may be the most beautiful pianissimo I have ever heard. Kempff also seems to have a sure conception of each complete work and does not lose the listener in various musical cul de sacs.

In short, performances this beautiful are bargains at any cost.

Beethoven: Violin Sonatas "Kreutzer" & "Spring"

Average customer rating:

The Amazing duo
great, great, great

Beethoven: Violin Sonatas "Kreutzer" & "Spring"

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041P9
Release Date: 1990-10-25

Tracks:

Violin Sonata No.9 In A Major - Op. 47: I Adagio sostenuto - Presto - Adagio
Violin Sonata No.9 In A Major - Op. 47: II Andante con Variazioni
Violin Sonata No.9 In A Major - Op. 47: III Finale - Presto
Violin SonataNo. 5 In F Major Op. 24: I Allegro
Violin SonataNo. 5 In F Major Op. 24: II Adagio molto espressivo
Violin SonataNo. 5 In F Major Op. 24: III Scherzo & Trio - Allegro molto
Violin SonataNo. 5 In F Major Op. 24: IV Rondo - Allegro ma non troppo

Amazon.com

Itzhak Perlman and Vladimir Ashkenazy play both of these pieces with unflagging virtuosity and impressive energy, bringing symphonic grandeur and scale to their account of the Kreutzer. The fingers and bow fly, yet Perlman never loses command of his tone. Recorded in 1973 and 1974, the readings are closely miked--so closely that one can literally hear the hair on Perlman's bow. The sound is weighty but clear, with excellent presence. --Ted Libbey

Customer Reviews:

The Amazing duo.......2000-06-13

In the past i have listened to at least six different versions of the "Kreutzer" sonata. None of them compare to the performance given by the magical Ashkenazy/Perlman duo. After listening to this cd I would have to say that Itzhak Perlman is the best violinist in existance. He expresses his deepest emotions through his instrument. This shows, especially in the first movement. Ashkenazy and Perlman seem to work extraordinarily well together which is why I give this title five stars.

great, great, great.......1999-05-31

Expect a great recording of great music by a great violinist... this performance lives up to it.

Average customer rating:

This is a fantastic deal!
Excellent, Broad Selection
$70....when was this???
$70/40... you do the math.

Vivaldi: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
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Binding: Audio CD

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ASIN: B00062FLHY
Release Date: 2004-11-30

Customer Reviews:

This is a fantastic deal!.......2007-02-25

If you are a fan at all of the Four Seasons you should love this music. I will admit right now that I am a classical music fan. I don't write or perform it. I am a novice listener. I have never taken any music lessons(though I am leaning in that direction) and certainly have not gone through any university music training. I started out in rock and roll but found classical as I got older and fell in love with it a few years ago.

With that context in mind I do hope I am able to recognize quality and this work is of the highest. It helps when you are starting with good ingredients in the first place. You can't bake great bread without great ingredients and Vivaldi's music library has some of the greatest musical ingredients of the last 300 years. They are very much the foundation for modern western culture and music. His talent is woven through what we are

The first 26 CDs are instrumental starting with the four seasons and working through many of the Master's many popular works. I will admit the four seasons are not the best interpretation I have heard but it is definitely acceptable. The rest of the music shows us many facets of the Baroque style and you can see themes emerging through some of the pieces that give us a 'fingerprint' of Vivaldi's style and the parameters of the stylistic leanings of the genre at the time. If you want to immerse yourself in 18th century music this is your chance

This music would be ideal for someone who owns a store and is looking for background music. With over 26 CDs of instrumental music alone you could have those constantly looping and you'd probably never get bored of them(OK I may be stretching it a little there). The reason is that the music does not leave a bad 'aftertaste' in your mind. It fits into the background as easily and naturally as it is to listen to it consciously in the foreground. If you are a fan of classical Baroque you don't usually need to be in the mood for this, it will adjust your mood to itself and Vivaldi's music is almost always of an uplifting sort if this collection is any indication. If you want something to listen to at your job 8 hours per day this is good for the mind and it would take you over a week to get through it if you listened to it every minute of every work day. You will also work without the worry of the music distracting your concentration. I find it enhances it when I'm working. I don't know how well this would work on school kids but teachers might want to try playing this during school time. You may create a few geniuses, we certainly could use more!

If you are looking for something to ease your sleep and oil your dreams I have put these CD's on in the background. Not only can I easily fall asleep when they are playing quietly in the background but it helps you sleep and you wake up in a very pleasant atmosphere if the music is still playing quietly when you wake(you probably would need to rip them to your MP3 player to do that). It's like napping at a classical music concert without the worry of being nudged by your spouse or offending the other concert goers with your snoring. That will be quite a unique experience for you and possibly give you some real sweet dreams. It has for me

So to wrap it up this is very intelligent, uplifting music that is great for your mind and your soul. It is definitely worth the purchase if you are a fan of the Four Seasons and the Baroque genre in my novice classical music fan's opinion

Excellent, Broad Selection.......2007-01-25

This 40-cd collection affords me a rare pleasure almost daily: the thrill of hearing something new by Vivaldi. Despite my best efforts over the years, I've managed to miss hearing a lot of great works by the master. Listening to a single CD now and then, catching tunes on the radio... you can't possibly get a comprehensive understanding of Vivaldi's output that way.

But when you work your way systematically from CD 1 through 40, you're sure to find many pleasant surprises. I've been skipping through everything I already know -- in some cases, it has only taken me about a minute to get through a whole CD (first 3 seconds of each track is usually enough). But then I stop and listen carefully three or four times to anything that's new.

Ah, what a pleasure. I've already acquired some new favorites. And some old standbys have proved even more rewarding, e.g. at first I thought RV 127 (CD 7, tracks 10-12) was performed too slowly (Naxos No: 8.553742 is much faster), but now I'm not sure; maybe it's BETTER that way! I can't recommend this set highly enough.

$70....when was this???.......2006-11-25

Wish the cost was $70 now. Guess the record producer (or Amazon) got tired of making less than $2 per CD.

$70/40... you do the math........2006-04-07

No, I don't own this collection...yet. However, the price of the collection compels me to review it beforehand. Never have I seen such a complete collection of Vivaldi compositions at such an incredibly low price. At $1.75 dollars a CD, the record producer (Brilliant Classics) isn't making much of a profit. The compilation pulls some of its works from DG Achiv Produktion's vault (see Standage), such as the violin concertos, as well as from unknown producers (the Poland Philharmonic Chamber Orchestra is heavily featured). The collection is so complete that it is academic, and I would not be surprised if music libraries quickly emptied it from Amazon's shelves. The collection is simply worth it for the incredible price (English Concert's recording of the violin concertos cost nearly 30 bucks, and is exactly featured here). Overall, the price alone makes this collection exceptionally attractive, and the ensembles featured aren't bad either.

Music Review:

Music Review

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