Beethoven: The Complete Piano Sonatas Vol. 4

On this CD:

1. Piano Sonata No. 12 in A flat major ("Funeral March") Op. 26
Composed by Ludwig van Beethoven
Performed by Ian Hobson

2. Piano Sonata No. 13 in E flat major ("Quasi una fantasia") Op. 27/1
Composed by Ludwig van Beethoven
Performed by Ian Hobson

3. Piano Sonata No. 14 in C sharp minor ("Moonlight"), Op. 27/2
Composed by Ludwig van Beethoven
Performed by Ian Hobson

4. Piano Sonata No. 15 in D major ("Pastoral") Op. 28
Composed by Ludwig van Beethoven
Performed by Ian Hobson

Customer Reviews:

Another winner by Brautigam .......2007-06-26

Fully up to the standard of the other Beethoven sonatas in this series played on fortepiano by Ronald Brautigam. No-nonsense,powerful, straightforward accounts of these early masterworks. Can't wait for the next couple of editions, which should contain Op.31, the Waldstein and Appassionata.

Beethoven: Complete Piano Sonatas Vol. 4

Average customer rating:

Annie Fischer's Beethoven Piano Sonatas
Eureka!
Hammerklavier from Heaven
In a class by itself - Just like Schnabel!
A glorious rendition of glorious music

Beethoven: Complete Piano Sonatas Vol. 4

Manufacturer: Hungaroton
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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Beethoven: Piano Sonatas Vol. 2
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ASIN: B0000030B1
Release Date: 1997-03-18

Tracks:

I. Son in E-flat, Op.31 No.3: I. Allegro
I. Son in E-flat, Op.31 No.3: II. Scherzo
I. Son in E-flat, Op.31 No.3: III. Menuetto
I. Son in E-flat, Op.31 No.3: IV. Presto Con Fuoco
II. Son in B-flat, Op.106: I. Allegro
II. Son in B-flat, Op.106: II. Scherzo
II. Son in B-flat, Op.106: III. Adagio Sostenuto
II. Son in B-flat, Op.106: IV. Largo-Allegro Risoluto

Customer Reviews:

Annie Fischer's Beethoven Piano Sonatas.......2007-01-13

In "Beethoven," by JWN Sullivan ("the son of a poor Irish sailor"), written in 1927 and never out of print since, the author describes the last movement of the Hammerklavier sonata as "the expression of the final refusal of annihilation, even if no hope and object be left in life." If this sort of thing sounds like nonsense to you, then you don't need Annie Fischer's performances of the Beethoven sonatas. If Sullivan's words speak to you, and you can already hear it in the performances of the sonatas you know, then again you needn't purchase Fischer's set. If, however, Sullivan's words ring true yet you have never found a performance that adequately embodies the truth that you long to hear, then Fischer's performances are for you.

That is perhaps the simplest way I can explain why I love these CDs. No other set I know (save, perhaps, Schnabel's) satisfied me, whatever fine qualities it might possess. I am thinking of Kempff, Goode, Roberts, Frank, Kuerti, Brendel, Kovacevich, Arrau, Perl, and Gulda, all of whose sets I have owned and listened to for years and then either given away or sold, because I could not hear in them the full range of states I know are expressed in the Beethoven sonatas. Besides Fischer, Schnabel alone has the spiritual depth and intellectual power to bring forth all the meaning of those phases of existence, yet the sound is distracting and there are a few occasions where he seems to put showmanship before communication. To make it even simpler, I will say that if, like me, you find Furtwangler's interpretation of the Beethoven symphonies (particularly those recorded during the war) revelatory in a way that no other performance has yet matched, then Fischer is to the sonatas what Furtwangler is to the symphonies. (If you don't know Furtwangler's recordings, more's the pity. They are available from Music & Arts.)

A more complicated way to explain would be to discuss the differences in cultural life (and therefore all life) wrought by what Walter Benjamin called "the age of mechanical reproduction," when recordings and reprints have flooded the world with what Lyotard calls "simulacra" of reality, so that we feel as though we have had an experience, though there are no emotional or intellectual traces of it left afterward. Fischer somehow avoided being caught up in "the concert industry," so her performances were genuine communal experiences between the composer, the performer, and the audience (not the empty gestures of practiced automata, like our prolific technical miracles). What's more amazing is that through what must have been an incredibly painstaking process of "patching in" (much like what Glenn Gould explains he did in his great Bach recordings), over several years and contrary to her own predilection Fischer managed to recreate that experience in the isolation of the recording studio so that we who never heard her in performance can nevertheless participate in it.

I was briefly tempted to try to justify some of my claims about Fischer's set by analysis, but even if I were adequate to the task it's absurd in this forum, so I will just baldly make the claims, and you may accept or reject them as you wish. First, Fischer understands and conveys the meaning of virtually every phrase, every contrapuntal line, every harmonic development, every dynamic contrast in a way that is nothing short of revelatory. Second, she plays with something like the range of touches, colors, expressions that were attributed by listeners to Beethoven's own playing, so that she has the heartbreaking delicacy of the adagio in op. 110 and the heaven-storming thunder of the allegro in op. 57, as well as everything in between. Third, the sound is finally adequate to the vision, amazingly "present" and beautiful, never diffuse or hazy, but really in the same room. Fourth, the packaging is beautiful, each CD in a paper sleeve accompanied by a fine booklet in English, French, German, and Hungarian, all contained in a super-slim high quality box. I am deeply grateful to Hungaraton (apparently now a subsidiary of Sony) for making this set available.

Of course, the price is very high, though I was able to find it new at Video Warehouse and at Best Prices for just over $100. If, like me, you love this music, you will likely feel that it is well worth it.

Eureka!.......2002-12-19

It was Artur Schnabel who claimed this music was better than could ever be played. After 30 years of collecting, having listened to all the greats perform this endlessly fascinating oeuvre, I would tend to agree: virtually every pianist has left room for just a little more something. Otherwise why bother collecting hundreds of performances of these vital pieces? There is always something missing that compels one to keep searching.

Until now. I can tell you from my heart that, virtually without fail, every movement of every one of these sonatas had me out of my seat, fist in the air, shouting "Brava!" These are, for me, the most satisfying performances of any music in the whole range of music. Not only are they, as the notes attest, peerless, they are priceless.

All who brought these recordings to fruition are to be deeply thanked. I have to think that Beethoven himself could not but smile, were he to hear these wonderful performances. Playing like this cannot have happened since he was alive.

To the memory of Annie Fischer, and to the kind folks at Hungaroton: Bravissima!

Hammerklavier from Heaven.......2001-06-30

Annie Fischer's complete recordings of the Beethoven piano sonatas are a treasure. Recorded during the 70's, not one was released during her lifetime. However, she did approve of final takes on all 32 before she passed away and thankfully, these great performances are finally available. She has an expressive tone the displays all the nuances of Beethoven's far-reaching set. She has a knack for capturing the perfect tempo every time. I regularly return to any of these recordings, including this one, to just rediscover these superb renditions. Any in this series is a solid purchase you will enjoy again and again. And whoever said Stiff and Labored is really hearing a different set of recordings then most everyone else who has sampled this treasure chest.

In a class by itself - Just like Schnabel!.......2001-05-05

I have extensively listened to 8 or 9 full setts of Beethoven's Piano Sonatas. Kempf, Arrau, Brendel, Backhauss, Gilels (partial set)...etc...I will say that without a doubt it is absolutely evident to my ears, heart and soul, that Annie Fischer's interpretation is in a class by itself. Her rendition is absolutely magnificent and sensitive. It flows with just the "right" timing just like pure running water. Although all major renditions have something to say, I feel that only Schnabel (the PEARL edition) and Gilels are in the same class as Annie Fischer. In the end and on a desert Island...I would choose her interpretation if I had to choose just one. It towers well above most of the others and by quite a margin...

A glorious rendition of glorious music.......2000-10-30

This recording, which includes Beethoven's hardest piano sonata, is absolutely glorious. Annie Fischer's playing is at a level of artistic and musical purity that cannot be equalled. Her rendition is about Beethoven, and not about Annie Fischer. I have heard many versions of her sonatas, and many of them have been fabulous. Of them all, however, I think that this is the one of which Beethoven would have most approved. As soon as I heard it, I rushed back to the store and bought as many of the series (there are nine CDs) as they had.

Tracks:

Son in c, Op.10 No 1: I. Molto Allegro
Son in c, Op.10 No 1: II. Adagio Molto
Son in c, Op.10 No 1: III. Finale. Prestissimo
Son in C 'Waldstein': Op.53: I. Allegro Con Brio
Son in C 'Waldstein': Op.53 : II. Intro. Adagio Molto/Attacca Subito
Son in C 'Waldstein': Op.53: III. Rondo. Allegretto Moderato/Prestissimo
Son in E flat, Op.7: I. Molto Allegro
Son in E flat, Op.7: II. Largo Con Gran Espressione
Son in E flat, Op.7: III. Allegro
Son in E flat, Op.7: IV. Rondo. Poco Allegretto

Customer Reviews:

Annie fischer's Beethoven Piano Sonatas.......2007-01-13

Eureka!.......2002-12-19

To the memory of Annie Fischer, and to the kind folks at Hungaroton: Bravissima!

Grace and Power.......2001-06-30

In a class by itself - Just like Schnabel!.......2001-05-05

Complete Beethoven Edition, Vol. 5: The 32 Piano Sonatas

Average customer rating:

Wilhelm Kempff Plays the Beethoven Piano Sonatas
Dollar for Dollar, the Best Beethoven Sonatas on CD
A great set, but...
The Definitive Beethoven Sonatas

Complete Beethoven Edition, Vol. 5: The 32 Piano Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B000001GZ8
Release Date: 1997-10-14

Tracks:

No.1 f-moll op. 2 No. 1: 1: Allegro
No.1 f-moll op. 2 No. 1: 2 : Adagio
No.1 f-moll op. 2 No. 1: 3 : Menuetto. Allegretto
No.1 f-moll op. 2 No. 1: 4 : Prestissimo
No.2 A-dur op. 2 No. 2: 1 : Allegro vivace
No.2 A-dur op. 2 No. 2: 2 : Largo appassionato
No.2 A-dur op. 2 No. 2: 3 : Scherzo. Allegretto
No.2 A-dur op. 2 No. 2: 4 : Rondo. Grazioso
No.4 Es-dur op.7: 1 : Allegro molto e con brio
No.4 Es-dur op.7: 2 : Largo, con gran espressione
No.4 Es-dur op.7: 3 : Allegro
No.4 Es-dur op.7: 4 : Rondo. Poco allegretto e grazioso

Tracks:

No. 3 C-dur op. 2 No. 3: I. Allegro con brio
No. 3 C-dur op. 2 No. 3: II. Adagio
No. 3 C-dur op. 2 No. 3: III. Scherzo, Allegro
No. 3 C-dur op. 2 No. 3: IV. Allegro assai
No. 5 c-moll op. 10 No. 1: I. Allegro molto e con brio
No. 5 c-moll op. 10 No. 1: II. Adagio molto
No. 5 c-moll op. 10 No. 1: III. Finale. Prestissimo
No. 6 F-dur op. 10 No. 2: I. Allegro
No. 6 F-dur op. 10 No. 2: II. Allegretto
No. 6 F-dur op. 10 No. 2: III. Presto
No. 7 D-dur op. 10 No. 3: I. Presto
No. 7 D-dur op. 10 No. 3: II. Largo e mesto
No. 7 D-dur op. 10 No. 3: III. Menuetto. Allegro
No. 7 D-dur op. 10 No. 3: IV. Rondo. Allegro

Tracks:

No. 8 C-moll op. 13 - Pathetique: I. Grave - Allegro di molto e con brio
No. 8 C-moll op. 13 - Pathetique: II. Adagio cantabile
No. 8 C-moll op. 13 - Pathetique: III. Rondo. Allegro
No. 9 E-dur op. 14 No. 1: I. Allegro
No. 9 E-dur op. 14 No. 1: II. Allegretto
No. 9 E-dur op. 14 No. 1: III. Rondo. Allegro comodo
No. 10 G-dur op. 14 No. 2: I. Allegro
No. 10 G-dur op. 14 No. 2: II. Andante
No. 10 G-dur op. 14 No. 2: III. Scherzo. Allegro assai
No. 11 B-dur op. 22: I. Allegro con brio
No. 11 B-dur op. 22: II. Adagio con molta espressione
No. 11 B-dur op. 22: III. Menuetto
No. 11 B-dur op. 22: IV. Rondo. Allegretto

Tracks:

No. 12 As-dur op. 26: I. Andante con Variations - Beethoven
No. 12 As-dur op. 26: II. Scherzo. Allegro molto - Beethoven
No. 12 As-dur op. 26: III. Marcia funebre sulla morte d'un Eroe - Beethoven
No. 12 As-dur op. 26: IV. Allegro - Beethoven
No. 13 Es-dur op. 27 No. 1: I. Andante - Beethoven
No. 13 Es-dur op. 27 No. 1: II. Allegro molto e vivace - Beethoven
No. 13 Es-dur op. 27 No. 1: III. Adagio con expressione - Beethoven
No. 13 Es-dur op. 27 No. 1: IV. Allegro vivace - Beethoven
No. 14 cis-moll op. 27 No. 2 Mondschein-Sonate in C sharp minor 'Moonlight': I. Adagio sostenuto - Beethoven
No. 14 cis-moll op. 27 No. 2 Mondschein-Sonate in C sharp minor 'Moonlight': II. Allegretto - Beethoven
No. 14 cis-moll op. 27 No. 2 Mondschein-Sonate in C sharp minor 'Moonlight': III. Presto agitato - Beethoven
No. 15 D-dur op. 28 Pastorale: I. Allegro - Beethoven
No. 15 D-dur op. 28 Pastorale: II. Andante - Beethoven
No. 15 D-dur op. 28 Pastorale: III. Scherzo. Allegro vivace - Beethoven
No. 15 D-dur op. 28 Pastorale: IV. Rondo. Allegro, ma non troppo - Beethoven

Tracks:

No. 16 G-dur op. 31 No. 1: I. Allegro vivace
No. 16 G-dur op. 31 No. 1: II. Adagio grazioso
No. 16 G-dur op. 31 No. 1: III. Rondo. Allegretto
No. 17 d-moll op. 31 No. 1 - Sturm - Sonate: I. Largo - Allegro
No. 17 d-moll op. 31 No. 1 - Sturm - Sonate: II. Adagio
No. 17 d-moll op. 31 No. 1 - Sturm - Sonate: III. Allegretto
No. 18 Es-dur op. 31 No. 3: I. Allegro
No. 18 Es-dur op. 31 No. 3: II. Scherzo. Allegretto vivace
No. 18 Es-dur op. 31 No. 3: III. Menuetto. Moderato e grazioso
No. 18 Es-dur op. 31 No. 3: IV. Presto con fuoco
No. 19 g-moll op. 49 No. 2: I. Andante
No. 19 g-moll op. 49 No. 2: II. Rondo. Allegro

Tracks:

No. 20 G-dur op. 49 No.2: I. Allegro , ma non troppo
No. 20 G-dur op. 49 No.2: II. Tempo di Menuetto linkerkant
No. 21 C-dur op. 53: I. Allegro con Brio
No. 21 C-dur op. 53: II. Introduzione. Adagio molto - attacca:
No. 21 C-dur op. 53: III. Rondo. Allegretto moderato
No. 22 F-dur op. 54: I. In tempo d'un Menuetto
No. 22 F-dur op. 54: II. Allegretto
No. 23 f-moll op. 57 - Appassionata: I. Allegro assai
No. 23 f-moll op. 57 - Appassionata: II. Andate con moto - attacca:
No. 23 f-moll op. 57 - Appassionata: III. Allegro, ma non troppo - Presto
No. 24 Fis-dur op. 78: I. Adagio cantabile - Allegro, ma non troppo
No. 24 Fis-dur op. 78: I. Allegro vivace

Tracks:

No. 25 G-dur op. 78: I. Presto alla tedesca
No. 25 G-dur op. 78: II. Andante
No. 25 G-dur op. 78: III. Vivace
No. 26 Es-dur op. 81a - Les Adieux: I. Das Lebewohl (Les Adieux). Adagio - Allegro
No. 26 Es-dur op. 81a - Les Adieux: II. Abwesenheit (L'Absence). Andante espressivo
No. 26 Es-dur op. 81a - Les Adieux: III. Das Wiedersehn (Le Retour). Vivacissimamente
No. 27 e-moll op.90: I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
No. 27 e-moll op.90: II. Nicht zu geschwind und sehr singbar vorzutragen
No. 29 B-dur op. 106 - Grosse Sonate fur das Hammerklavier: I. Allegro
No. 29 B-dur op. 106 - Grosse Sonate fur das Hammerklavier: II. Scherzo. Assai vivace
No. 29 B-dur op. 106 - Grosse Sonate fur das Hammerklavier: III. Adagio sostenuto. Appassionato e con molto sentimento
No. 29 B-dur op. 106 - Grosse Sonate fur das Hammerklavier: IV. Largo - Allegro risoluto

Tracks:

No. 28 A-dur op. 101: I. Etwas lebhaft und mit der innigsten Empfindung. Allegretto ma non troppo afdruk
No. 28 A-dur op. 101: II.Lebhaft, marschmig. Vivace alla marcia
No. 28 A-dur op. 101: III. Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto - attacca:
No. 28 A-dur op. 101: IV. Geschwinde, doch nicht zu sehr und mit Entschlossenheit. Allegro
No. 30 E-dur op. 109: I. Vivace, ma non troppo
No. 30 E-dur op. 109: II. Prestissimo
No. 30 E-dur op. 109: III. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) gevlekt
No. 31 As-dur op. 110: I. Moderato cantabile molto espressivo
No. 31 As-dur op. 110: II. Allegro molto
No. 31 As-dur op. 110: III. Adagio, ma non troppo - Fuga. Allegro ma non troppo
No. 32 c-moll op. 111: I. Maestoso - Allegro con brio ed appassionato
No. 32 c-moll op. 111: II. Arietta. Adagio molto semplice e cantabile

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. A classicist by nature, his approach to Beethoven was clear and poised rather than impulsive, but 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 dud in the lot. --David Hurwitz

Customer Reviews:

Wilhelm Kempff Plays the Beethoven Piano Sonatas.......2005-08-16

Beethoven's "Daybook" 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 outward directed and the second as inward, reflective, and meditative. Some of Beethoven's music can be seen as occupying one or the other end of the polarity while much of the music somehow occupies both ends.

The same holds true as a rough approach to the interpretation of Beethoven's music -- including the 32 piano sonatas. Some performers emphasize the dramatic, rugged and virtuosic characteristics of the music. Other performers emphasize the music's inward, 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 in the 1950's and the second in the 1960's. The latter version was reissued on eight CDs by Deutsche Gramophonne as part of its 87-CD Complete Beethoven Edition. 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 performances 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 the volume is subdued and restrained. This is 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 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 days in Bonn before his 1792 move to Vienna (the two sonatas of opus 49) to about 1822 (opus 111). Thus they occupied him 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 than can be gained from reading many studies.

Separate from a chronological approach, listeners interested in a complete set of the 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, many listeners will want to explore the entire set of 32 sonatas.

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

I think the greatest attraction of this set is the opportunity it affords 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, of opus 78, 79, and 81a ("Les Adieux) of opus 90, and of opus 101, 109, and 110. Opus 90, 101, and 109 are among my favorites of the cycle, and Kempff plays them soulfully and beautifully.

There is yet another group of sonatas that are still less well-known but receive excellent readings on this set. This group includes two early sonatas, opus 2 no 3 and opus 7, the opus 22 sonata, opus 27 no. 1 (the companion to the more famous "Moonlight"),opus 31 no. 3, the enigmatic opus 54, and, of course, the "Hammerklavier" sonata and the final sonata, opus 111. Each listeners choices and favorites 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. I have lived with my set of Kempff for a long time and still am 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

Dollar for Dollar, the Best Beethoven Sonatas on CD.......2001-03-16

Beethoven's piano sonatas were one of humanity's great achievements. They have been recorded by many pianists including Artur Schnabel, Alfred Brendel, Richard Goode, and John O'Connor--and nearly every pianist of note has recorded at least a few of the most popular sonatas.

What makes the Kempff set work best for me is the lack of a dogmatic, cookie cutter approach to the music. Kempff approaches each piece as a masterwork in its own right. The tempos are more sensible than those adopted by most other pianists, particularly in the slower movements. For example, in the Hammerklavier Sonata, most pianists cannot resist the urge to play the Adagio almost as a Largo--ignoring the fact that such a tempo would have made the movement incomprehensible on a piano of Beethoven's time--which had a quick tonal decay. Speaking of tone, Kempff has an especially beautiful sound--a product of his 19th century training. The phrasing is more flexible than today's "red light, green light" stop and go approach, and Kempff, unlike so many of today's pianists, never lets musical point making get in the way of the big picture, structually.

Although Kempff was getting along in years when these recordings were made--the 1960s--he is fully up to the technical hurdles these sonatas contain. The only disappointment on this set is in the "Appassionata" Sonata, where Kempff's clear headed approach does not suit this rage filled piece. For that particular piece, it's best to go with Richter's RCA recording. On the whole, this is the best set of Beethoven Sonatas currently available on CD--and it's at bargain price!

A great set, but..........2000-05-19

the mono set is clearly preferable, both as to performance and sound. All the attributes ascribed to the stereo set are present in even greater abundance in the mono set from the early 50s and the sound is more natural and warm than here. Problem is, it is difficult to find now. But do seek it out. This stereo set is probably still a "5" on an absolute scale, but the earlier set is just that much better.

The Definitive Beethoven Sonatas.......2000-05-12

Kempff recorded the complete cycle of Beethoven sonatas no fewer than three times. This, his last, is quite possibly the most refined set of Beethoven sonatas as far as overall consistency and polish. Many other sets show great promise in either the most popular sonatas or else in one particular period. (Richard Goode's late sonatas, for instance, are stellar, but some of the earlier works come across as dry and pedantic). From the Haydn-esque op. 2, to the Sonate Pathétique, the thunderous Hammerklavier and intense opp. 109, 110 and 111, all of the sonatas are executed with extreme clarity, authority and thoughtfulness. (Actually, the clarity is one of my few complaints in this set as occasionally passages feel a little detached, but rarely). Even the two "easy" sonatas of op. 49 are excellent; intermediate student pieces no longer. Some of the slow movements are taken a little faster than I would prefer, although there is hardly ever a sense of urgency. Kempff's dynamic range and large capacity for every imaginable articulation is also exploited to its very finest. There is no clearer Waldstein available, period. Even the so-called "warhorses" like the Moonlight are not tiresome in this set; some other recordings sound like the pianist has played them too many times and is sick to death of it, but you will never feel that here. For freshness and detail in all of these monuments of the piano sonata, this is the set to have.

Complete Beethoven Edition, Vol. 7: Violin Sonatas

Average customer rating:

Not quite there!!!
Stunning, enlivened presentation
GET THEM!
Wow...
Review from Gramaphone

Complete Beethoven Edition, Vol. 7: Violin Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

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Complete Beethoven Edition, Vol. 9: Piano Trios
Complete Beethoven Edition, Vol. 11: Early String Quartets

ASIN: B000001GZA
Release Date: 1997-11-25

Tracks:

Sonate No. 1 In D Major, Op. 12 No. 1: 1. Allegro con brio - L.V. Beethoven
Sonate No. 1 In D Major, Op. 12 No. 1: 2. Tema con Variazioni. Andante con moto - L.V. Beethoven
Sonate No. 1 In D Major, Op. 12 No. 1: 3. Rondo. Allegro - L.V. Beethoven
Sonate No. 2 In A Major, Op. 12 No. 2: 1. Allegro vivace - L.V. Beethoven
Sonate No. 2 In A Major, Op. 12 No. 2: 2. Andante piu tosto Allegretto - L.V. Beethoven
Sonate No. 2 In A Major, Op. 12 No. 2: 3. Allegro piacevole - L.V. Beethoven
Sonate No. 3 In E Flat Major, Op. 12 No. 3: 1. Allegro con spirito - L.V. Beethoven
Sonate No. 3 In E Flat Major, Op. 12 No. 3: 2. Adagio con molta espressione - L.V. Beethoven
Sonate No. 3 In E Flat Major, Op. 12 No. 3: 3. Rondo. Allegro molto - L.V. Beethoven

Tracks:

Sonate No. 4 In A Minor, Op. 23: 1. Presto - Ludwig Van Beethoven
Sonate No. 4 In A Minor, Op. 23: 2. Andante scherzoso piegretto - Ludwig Van Beethoven
Sonate No. 4 In A Minor, Op. 23: 3. Allegro molto - Ludwig Van Beethoven
Sonate No. 5 In F Major 'Spring', Op. 24 'Frs-Sonate': 1. Allegro - Ludwig Van Beethoven
Sonate No. 5 In F Major 'Spring', Op. 24 'Frs-Sonate': 2. Adagio molto espressivo - Ludwig Van Beethoven
Sonate No. 5 In F Major 'Spring', Op. 24 'Frs-Sonate': 3. Scherzo. Allegro molto - Ludwig Van Beethoven
Sonate No. 5 In F Major 'Spring', Op. 24 'Frs-Sonate': 4. Rondo. Allegro ma non troppo - Ludwig Van Beethoven
Twelve Variations In F Major On 'Se vuol ballare' (From Mozart's Opera 'The Marriage Of Figaro') WoO 40: Thema. Allegretto - Variazioni I-XII - Coda - Ludwig Van Beethoven
Rondo In G Major WoO 41: Allegro - Ludwig Van Beethoven
Six German Dances (Allemandes) WoO 42: Six German Dances - Ludwig Van Beethoven

Tracks:

Sonate No. 6 In A Major, Op. 30 No. 1: 1. Allegro - L.V. Beethoven
Sonate No. 6 In A Major, Op. 30 No. 1: 2. Adagio molto espressivo - L.V. Beethoven
Sonate No. 6 In A Major, Op. 30 No. 1: 3. Allegretto con Variazioni (I-VI) - L.V. Beethoven
Sonate No. 7 In C Minor, Op. 30 No. 2: 1. Allegro con brio - L.V. Beethoven
Sonate No. 7 In C Minor, Op. 30 No. 2: 2. Adagio cantabile - L.V. Beethoven
Sonate No. 7 In C Minor, Op. 30 No. 2: 3. Scherzo, Allegro - L.V. Beethoven
Sonate No. 7 In C Minor, Op. 30 No. 2: 4. Finale. Allegro - Presto - L.V. Beethoven
Sonate No. 8 In G Major, Op. 30 No. 3: 1. Allegro assai - L.V. Beethoven
Sonate No. 8 In G Major, Op. 30 No. 3: 2. Tempo di Minuetto, ma molto moderato e grazioso - L.V. Beethoven
Sonate No. 8 In G Major, Op. 30 No. 3: 3. Allegro vivace - L.V. Beethoven

Tracks:

Sonate No. 9 In A Major, Op. 47 'Kreutzer-Sonate': 1. Adagio sostenuto - Presto - Ludwig Van Beethoven
Sonate No. 9 In A Major, Op. 47 'Kreutzer-Sonate': 2. Andante con Variazioni I - IV - Ludwig Van Beethoven
Sonate No. 9 In A Major, Op. 47 'Kreutzer-Sonate': 3. Finale. Presto - Ludwig Van Beethoven
Sonate No. 10 In G Major, Op. 96: 1. Allegro moderato - Ludwig Van Beethoven
Sonate No. 10 In G Major, Op. 96: 2. Adagio espressivo - Ludwig Van Beethoven
Sonate No. 10 In G Major, Op. 96: 3. Scherzo. Allegro - Ludwig Van Beethoven
Sonate No. 10 In G Major, Op. 96: 4. Poco Allegretto - Ludwig Van Beethoven

Customer Reviews:

Not quite there!!!.......2002-04-06

These performances are just average!I have recordings of heifetz on tapes and they are great.I have also the exquisite performances by Perlman and Ashkenazy,perhaps the best!Here Kremer and Argerich (individually they may be great!)do not seem to be combining at all.added to this the flow of the music is interrupted by quixotic changes in tempo and dynamics.just not inspiring.Particularly the SPRING sonata is a big let down.Here Perlman and Ashkenazy combine perfectly to give a soaring lyrical reading.Just matchless!i would recommend The perlman and Ashkenazy as the best choice for these sonatas.

Stunning, enlivened presentation.......2001-09-05

Two soloist who perform well together (perhaps one of the best pairings in modern recordings) are Argerich and Kremer. Both are strong musicians, and often they can overwhelm others who are less competitive about their music. Not that these two compete with each other for supremacy. Instead, they blend their aggressiveness, producing lively, full-bodied performances where piano and violin challenge each other, then submit gracefully to the other's lead. This is Beethoven as you'd expect/want it to be played -- dramatic, bold, but then a little softened, coaxing out the pretty parts. The Spring and Kreutzer sonatas, probably the best known, are gems of this collection. All ten sonatas are included (which are also available on separate CDs but the whole collection is much more economically priced!). Listening to all ten is a journey through Beethoven's chamber music. Don't miss these performances!

GET THEM!.......2001-04-17

If I could have two choices of music to have on a deserted island, this would be my second choice. Turandot with Mehta conducting would be the first. Kremer and Argerich play these Beethoven Violin Sonatas with so much passion, joy, and drive that I am completely dazzled. They show me a brilliant universe which I have rarely experienced.

Kremer and Argerich play all the tracks of the four CDs except for three on the 2nd CD. Menuhin and Kempff play variations on theme of The Marriage of Figaro and Rondo in G major. And on third track Garret and Canino play Six German Dances.

An 85-page booklet comes with the set. It describes the pieces in an academic manner.

Wow..........2000-12-13

I am pained to admit that I have (up until now) only heard Gidon Kremer performing contemporary pieces. I have truly been missing out. Kremer's performance on this boxed set is impeccable - even the die-hard Beethoven fans will be pleased with his work on this album. Unlike the recent Mutter recordings of the sonatas, Kremer performs the pieces much as Beethoven intended (which in my mind is a better way to go than what Mutter did). I highly recommend this.

Review from Gramaphone.......1999-03-27

I havn't actually heard these recordings but from the review #6-8 recieved in Gramophone, they probably exceed or match any other recorded performances of these wonderful works. Gramophone wrote: "the 3 sonatas are irresistibly lively and individual spirits in the hands and imaginations of Agerich and Kremer."

Gramophone goes on and on raving about these performances of excellent musicality and ensemble playing. In their "Classical Good CD Guide 1999" they a two out of three G's (What they use instead of stars), tied for highest with Heifitz. I am planning to but these records myself very soon once I have some extra $ for them.

Complete Beethoven Edition, Vol. 8: Cello Sonatas
Average customer rating:

Good but not the Best!!!

Fiery, Splendid Performances Of Beethoven's Cello Sonatas

Hat Trick

Fiery rendition of the sonatas

Complete Beethoven Edition, Vol. 8: Cello Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
Cello | Strings | Instruments | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
Deutsche Grammophon: Music | Specialty Stores | Music
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Complete Beethoven Edition, Vol. 7: Violin Sonatas

ASIN: B000001GZB
Release Date: 1997-11-25

Tracks:

Twelve Variations In F Major On The Theme 'Ein Madchen oder Weibchen' From Mozart's Opera 'The Magic Flute': Thema. Allegretto
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation I
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation II
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation III
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation IV
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation V
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation VI
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation VII
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation VIII
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation IX
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation X. Adagio
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation XI. Poco Adagio quasi Andante - attacca subito:
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation XII. Allegro
Sonata For Piano & Cello In F Major Op. 5, No. 1: 1. Adagio sostenuto -
Sonata For Piano & Cello In F Major Op. 5, No. 1: Allegro -
Sonata For Piano & Cello In F Major Op. 5, No. 1: Adagio - Presto-Tempo primo
Sonata For Piano & Cello In F Major Op. 5, No. 1: 2. Allegro vivace
Sonata For Piano And Cello In G Minor Op. 5, No. 2: 1. Adagio sostenuto e espressivo - attacca:
Sonata For Piano And Cello In G Minor Op. 5, No. 2: Allegro molto piu tosto presto
Sonata For Piano And Cello In G Minor Op. 5, No. 2: 2. Rondo. Allegro
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Thema. Andante
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation I
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation II
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation III
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation IV
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation V. Si prenda il tempo un poco piu vivace
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation VI. Adagio - attacca subito:
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation VII. Allegro ma non troppo

Tracks:

Sonata For Piano & Cello In A Major Op. 69: 1. Allegro ma non tanto
Sonata For Piano & Cello In A Major Op. 69: 2. Scherzo. Allegro molto
Sonata For Piano & Cello In A Major Op. 69: 3. Adagio cantabile
Sonata For Piano & Cello In A Major Op. 69: 4. Allegro vivace
Sonata For Piano & Cello In C Major Op. 102, No. 1: 1. Andante -
Sonata For Piano & Cello In C Major Op. 102, No. 1: Allegro vivace
Sonata For Piano & Cello In C Major Op. 102, No. 1: 2. Adagio - Tempo d'Andante -
Sonata For Piano & Cello In C Major Op. 102, No. 1: Allegro vivace
Sonata For Piano & Cello In D Major Op. 102, No. 2: 1. Allegro con brio
Sonata For Piano & Cello In D Major Op. 102, No. 2: 2. Adagio con molto sentimento d'affetto - attacca:
Sonata For Piano & Cello In D Major Op. 102, No. 2: 3. Allegro - Allegro fugato
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Thema. Allegretto
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation I
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation II
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation III
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation IV
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation V
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation VI
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation VII
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation VIII
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation IX
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation X. Allegro
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation XI. Adagio
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation XII. Allegro

Customer Reviews:

Good but not the Best!!!.......2002-02-26

Argerich and Maisky deliver a good performance,but not quite inspiring.The playing is virtuosic and heady but robs the work of its true majesty and grandeur.I recommend the inspired performance by the incomparable Pierre Fournier and Kempff as a top choice for these beautiful works.Fournier brings a broad lyrical flow and Kempff matches with a sensitive touch.It is like true noble friends sharing an intimate and inspired conversation.Truly a noble performance with a broad sweep and flowing lyricism at its best.i have not listened to Richter/Rostropovich but I do not have to.The Fournier/Kempff performance has a sense of completeness.I understand why Kempff is one of the very best ever when it comes to Beethoven's sonatas.Truly a great artist and fournier is in the same class.
How sad that this album(deustche grammaophone)is not even listed in the Amazon catalogue!the sound quality is excellent for a 1965 recording!

Fiery, Splendid Performances Of Beethoven's Cello Sonatas.......2001-12-15

Since I haven't heard the legendary recordings with Richter and Rostropovich, I can't compare their traversal of Beethoven's cello sonatas with Argerich's and Maisky's. Yet I think this is one of the most exciting recordings of Beethoven's chamber music I've heard, notable for Argerich's dramatic playing. Yet Maisky comes across as a skillful interpreter of his own, not once taking a back seat to Argerich's keyboard pyrotechnics. Instead, what you have hear is a splendid collaboration between equally gifted musicians, in which one occasionally takes the lead. There is clearly an atmosphere of familiarity, warmth, and indeed, friendship, in their playing. These fine performances are enhanced by Deutsche Grammophon's state-of-the-art digital recording.

Hat Trick.......2001-05-08

The thing about Beethoven's chamber music is that he often "pretends" he's writing for orchestra. This is nowhere more evident than in the cello sonatas, in which the cello may be both a solo instrument and the bass line of the orchestral texture, and the piano may be a solo instrument or provide the inner voices of the orchesral texture-and, of course, Beethoven calls on both performers to wear both hats, and to alternate between them frequently, sometimes within the space of a single measure. Apart from the individual mastery of both these performers, the reason why this recording is so successful is that Argerich and Maisky do such an excellent and intelligent job of changing hats as the music requires. It is a beautiful and wonderfully engaging performance, of such interpretive richness that you're guaranteed to hear more every time you listen to it. And, of course, nobody can touch the mellifluous lushness of Maisky's tone.

Fiery rendition of the sonatas.......2000-10-15

The performances here are first rate. While they do not surpass the classic Richter/Rostropovich recordings, they nevertheless a offer a distinctive view of these beautiful sonatas. Like the Richter/Rostropovich collaboration, the Argerich/Maisky team is one of equal partnership (though with a slight but noticable nod to the pianist). In fact, sometimes Argerich seems to even dominate and lead the music, which, with a musician of her caliber, isn't necessarily a bad thing. As is with much of Argerich's performances, the music here is intense and driven. For those who own the Argerich/Kremer set of Beethoven violin sonatas, you will certainly hear many stylistic similarities. Oh, and don't forget the three variations (basically encores) included here. They are very pleasant as well. Recommended.

Beethoven: Sonatas Op 13 'Pathetique', Op 14 Nos 1 & 2, Op 22 (Complete Works for Solo Piano Vol 1) /Brautigam

Average customer rating:

Wonderful playing on a superb instrument
Yes, it's THAT good!
Beginning of a fabulous Beethovven Sonata cycle?
Heralding a breakthrough series of Beethoven keyboard wks

Beethoven: Sonatas Op 13 'Pathetique', Op 14 Nos 1 & 2, Op 22 (Complete Works for Solo Piano Vol 1) /Brautigam
Ludwig van Beethoven , and Ronald Brautigam
Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Beethoven: Complete Sonatas & Variations [Hybrid SACD]
Mahler: Symphony No. 6; Piano Quartet [Hybrid SACD]

ASIN: B00066K0HQ
Release Date: 2005-01-25

Customer Reviews:

Wonderful playing on a superb instrument.......2005-07-01

I debated for a long time before buying this SACD - simply because while I had appreciated other fortepiano recordings I owned, they never replaced recordings on a modern grand piano. Also, of course, I had other versions of these works, particularly the Pathetique.

Still within a few bars of this excellent recording, my fears were banished. The fortepiano Brautigam used (a copy of an original) is one hell of an instrument: no tinkly passagework or lack of sustaining power here. In fact the crushing chord which opens the Pathetique (and reappears later) has more impact in this reading than in virtually any other I've heard.

To be honest I'm amazed this thin-legged instrument featured in the booklet can produce such powerful sounds - or survive such playing! The bass response is remarkable, which coupled with Brautigam's phenomenal articulation (particularly of ornaments which emerge with great clarity) and his urgent tempi makes this a really dramatic performance which I would put near, if not at, the top of my favourite Beethoven sonata recordings. Wisely Brautigam adots a fairly flowing tempo for the Adagio Cantabile as this is one area of keyboard playing where the modern piano has the edge.

A word about the sound quality - it's superb in multichannel. Incredibly vivid sound, with the fortepiano placed securely on a perfectly realistic soundstage. Rear channel use is ideal, securing the aural image. As I've mentioned, the bass is perfectly focused, adding real weight to the interpretations. The detail in the mid- and high-registers is also wonderful.

The two op.14 sonatas on the disc are slighter works but given excellent performances - I don't know them as well as the final work, the Sonata No.11 op.22. This is one of my favourites, especially for its amusing theme and variations finale, which here is played rather more dramatically than usual. Richard Goode's performance on Nonesuch has been my benchmark for a few years, but Brautigam is nearly as good (if you'll excuse the pun) - occasionally his non-legato phrasing compromises the droll elegance, though the dramatic interludes in this finale come across more vividly to even things out.

I'd give this a very strong recommendation, and I'll certainly be buying subsequent volumes (the second one is released in August).

If you have worries about the sound of the fortepiano, my advice is don't be concerned, this instrument sounds full and impressive. With Brautigam's virtuosic and thoroughly Beethovenian performances one really hears what early audiences must have experienced with the composer at the keyboard.

Yes, it's THAT good!.......2005-06-08

Another recording of the Beethoven piano sonatas? Well, it had better be pretty special, and have something new to say. And this indeed is an outstanding recording in every way. Fabulous sound quality. Excellent choice of instrument - a fortepiano, yes, but one with incredible range and tone. The ear quickly adjusts to the sound, and the performance is so good you almost forget you are listening to a "period" instrument (actually, it's a modern fortepiano). The performance is exciting, dynamic, emotionally involving, intellectually stimulating...yes, it's THAT good! Buy this disc! Even better than Brautigam's outstanding Haydn and Mozart cycles.

Beginning of a fabulous Beethovven Sonata cycle?.......2005-05-25

This is the only fortepiano recording of Beethoven's music I have ever heard that to me conveys the full power, drama, and clarity of Beethoven's groundbreaking achievements. This is a full range piano sound, just not the sound of the modern concert grand. The playing is absolutely outstanding and I will eagerly anticipate each volume in this cycle, and hope that the concertos will also be forthcoming. A revelatory experience not to be missed!

Heralding a breakthrough series of Beethoven keyboard wks.......2005-05-17

After the first 30 seconds of the op 13 sonata, anyone holding onto the idea that the fortepiano is too lightweight to do justice to Beethoven's mighty sonatas must either repent or leave the room. Ronald Brautigam has once again embarked on a series of solo keyboard recordings in repertoire crowded with classic perfomrances from world famous artists; but, of course, Brautigam uses period instruments.

First, it was a Mozart cycle on BIS that brought Brautigam into the limelight. Before that series was even finished, a Haydn cycle was undertaken. Both series exhibit a tremendous virtuosity while dispelling misconceptions about the potential range of expression from a fortepiano. Brautigam's readings challenge such well known stars as Brendel, Barenboim, Gieseking, Uchida, and more.

But who would expect that Brautigam could approach the genius of a Schnabel, Brendel, Pollini, Gilels, Kempff, Rubinstein, or hordes of other legends whose names have graced dozens of outstanding recorded performances over the decades, and on a fortepiano at that. Make no mistake about it, I do not suggest that Brautigam surpasses any of these hall-of-fame artists, but he certainly joins them.

The first work on this disk, the "Pathetique", speaks well for the remainder of the four sonatas represented here, and hopefully for the rest of the series too. The first movement has incredible dynamic range. Hearing the recording for the first time, I was overwhelmed by the impact of some of the climaxes. Comparing the reading to conventional intrument recordings, I am reminded of being at the top of 13,000 foot high Mount Shasta many years ago. It was breathtaking, but because all of the surrounding hills were so high also, the effect bore no comparison to some overlooks around Death Valley, where 10,000+ high peaks rise up over a valley that is below sea level. With the instrument Brautigam uses in this recording, the quiet passages are like the low points in Death Valley with the climaxes being like the 10,000 foot peaks around the rim of Death Valley. And the effect is magnificent. In the slow movement, Brautigam has even more expressive abilities at his fingertips, capturing the quiet sublimity of Beethoven's textures with much more breadth than would be possible on a modern piano. And the fast rhythms of the finale dance with great excitement.

As always, BIS excels in the recording with awesome accoustics. And, for no extra charge, you get this in a hybrid CD that can be played on a normal CD player, but will yield even finer results on an SACD player if you have/get one.

Lets hope BIS can stay with the series until it finishes. Many record companies have pulled the plugs on long series in recent years. BIS has yet to do so with any of their spectacular complete editions. Keep up the good work, BIS.

Beethoven: The Complete Piano Sonatas Vol. 4

Average customer rating:

Beethoven: The Complete Piano Sonatas Vol. 4

Manufacturer: Zephyr Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000DFX7
Release Date: 1998-10-27

Beethoven: complete Cello Sonatas Vol. 1

Average customer rating:

Beethoven: complete Cello Sonatas Vol. 1

Manufacturer: Gall Music
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000009IYA
Release Date: 1995-12-12

Beethoven: Complete Piano Sonatas, Vol. 1

Average customer rating:

Very Poor Transfer

Beethoven: Complete Piano Sonatas, Vol. 1

Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00005NHKY
Release Date: 2001-09-04

Customer Reviews:

Very Poor Transfer.......2003-03-18

But Schnabel is very inspiring in that he shows you how to approach and how we can interprete music. Usually we have to hear a whole variety of interpretations in order to get a better idea of the pieces. Listening to Schnabel and you can save about 50% of your efforts and the result is twice as good, because he helps you to see music in a new light. Andras Schiff, for example, often listens to and benefitted much from Schnabel.

But the transfer here is very poor indeed despite the fact that I have been listening to quite a lot of historic recordings like Busoni on the piano, the Liszt's Pupils, Schnabel/Szegeti, Busch/Serkin, Bartok, Rachmaninoff on the piano... etc but none is more unacceptable than this one even in view of it's low price. Go for other versions.

Music Review:

Music Review

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