Complete Sonatas 9

On this CD:

1. Keyboard Sonata in D major, H. 16/42
Composed by Franz Joseph Haydn
Performed by Roland Batik

2. Keyboard Sonata in E flat major, H. 16/22
Composed by Franz Joseph Haydn
Performed by Roland Batik

3. Keyboard Sonata in A major, H. 16/26
Composed by Franz Joseph Haydn
Performed by Roland Batik

4. Keyboard Sonata in C sharp minor, H. 16/36
Composed by Franz Joseph Haydn
Performed by Roland Batik

5. Keyboard Sonata in G Minor, H. 16/44
Composed by Franz Joseph Haydn
Performed by Roland Batik

6. Keyboard Sonata in E flat major, H. 16/38
Composed by Franz Joseph Haydn
Performed by Roland Batik

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:

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:

Superb music - lousy packaging
AMONG THE BEST
Excellent bargain
So wonderful that these have been re-released
Deep and thoughtful

Beethoven: The Complete Piano Sonatas
Beethoven , and Frank
Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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ASIN: B000063DK9
Release Date: 2006-01-01

Tracks:

I. Allegro
II. Adagio
III. Menuetto: Allegretto/Trio
IV. Prestissimo
I. Allegro
II. Adagio Grazioso
III. Rondo: Allegretto
I. Allegro Assai/Piu Allegro
II. Andante Con Moto Allegro, Ma Non Troppo/Presto

Tracks:

I. Allegro
II. Allegretto/Maggiore
III. Rondo: Allegro Comodo
I. Largo/Allegro
II. Adagio
III. Allegretto
I. Vivace, Ma Non Troppo/Adagio Espressivo
II. Prestissimo
III. Gesangvoll, Mit Innigster Empfindung (Variations 1-6)

Tracks:

I. Allegro Molto E Con Brio
II. Adagio Molto
III. Finale. Prestissimo
I. Allegro
II. Andante
III. Scherzo: Allegro Vivace/Trio
IV. Rondo: Allegro, Ma non Troppo/Piu Allegro Quasi Presto
I. Presto Alla Tedesca
II. L'Absence: Andante Espressivo/Le Retour: Vivacissimamente

Tracks:

I. Allegro Con Brio
II. Adagio
III. Scherzo: Allegro/Trio/Coda
IV. Allegro Assai
I. In Tempo D'Un Menuetto
II. Allegretto/Piu Allegro
I. Allegro
II. Allegretto
III. Presto
I. Moderato cantabile, Molto Espressivo
II. Allegro Molto
III. Adagio, Ma Non Troppo/Fugue: Allegro, Ma Non Troppo

Tracks:

I. Grave/Allegro Di Molto E con Brio
II. Adagio Cantabile
III. Rondo: Allegro
I. Presto Alla Tedesca
II. Andante
III. Vivace
I. Adagio Cantabile/Allegro, Ma Non Troppo
II. Allegro Vivace
I. Allegro
II. Scherzo: Allegretto Vivace
III. Menuetto: Moderato E Grazioso/Trio
IV. Presto Con Fuoco

Tracks:

I. Andante
II. Rondo: Allegro
I. Allegro, Ma Non Troppo
II. Tempo Di Menuetto
I. Allegro
II. Scherzo: Assai Vivace
III. Adagio Sostenuto
IV. Largo/Allegro Risoluto

Tracks:

I. Presto
II. Largo E Mesto
III. Menuetto/Allegro/Trip
IV. Rondo: Allegro
I. Mit Lebhaftigkeit Und Durchaus Mit Empfindung Und Ausdruck
II. Nicht Zu Geschwind Und Sehr Singbar
I. Allegro Con Brio
II. Introduzione: Adagio Molto
III. Rondo: Allegretto Moderato

Tracks:

I. Allegro Molto E Con Brio
II. Largo, Con Gran Espressione
III. Allegro/Minore
IV. Rondo: Poco Allegretto E Grazioso
I. Andante Con Variazione
II. Scherzo: Allegro Molto/Trio
III. Marcia Funebre Sulla Morte D'un Eroe
IV. Allegro
I. Etwas Lebhaft Und Mit Der innigsten Empfindung
II. Lebhaft, Marschmassig
III. Langsam Und Sehnsuchtvoll/Geschwinde, Doch Nicht Zu sehr, Und Mit Entschlossenheit

Tracks:

I. Allegro Vivace
II. Largo Appassionato
III. Scherzo: Allegretto
IV. Rondo: Grazioso
I. Allegro Con Brio
II. Adagio Con Molta Espressione
III. Menuetto/Minore
IV. Rondo: Allegretto
I. Adagio Sostenuto
II. Allegretto
III. Presto

Tracks:

I. Allegro
II. Andante
III. Scherzo: Allegro Assai
I. Andante/Allegro/II. Allegro Molto E Vivace/III. Adagio Con Espressione/IV. Allegro Vivace/Presto
I. Maestoso/Allegro Con Brio Ed Appassionato
II. Arietta: Adagio Molto Semplice E Cantabile

Customer Reviews:

Superb music - lousy packaging.......2007-03-30

The playing and sound is superb and the price is right. I have one big complaint, though. My set came with no liner notes whatsover, not even a listing of the pieces and which of the ten CDs they are on. This information is found only printed on the CDs themselves, which means you have to rummage through them to find a particular sonata. And even then the track listings are not given, so unless you have memorized how many movements each sonata has you are out of luck on finding where a particular one begins. Quite an oversight - I would gladly have paid a few dollars more if they had included a brochure with complete track information.

AMONG THE BEST.......2006-11-28

One man's viewpoint:
I have three other sets of the 32, and love them all. I must say that Frank can really cut it - great agility, a bit of rubato, and a sense of true comprehension and mastery of the music. His Hammerklavier surprised me: It's one of the most thoughtfull I own.
*** Frank can--in some pieces--transport us in ways we hadn't expected. When I bought this, I paid an amazing low price. Now, to my ears, it's worth triple that amount. Get this set and the O'Conor set. Fall in love twice.

Excellent bargain.......2006-07-26

I agree with the positive comments of all the reviewers below. A couple of points that that might interest prospective purchasers:
1. Most of the repeats, but not all, are observed.
2. Although I agree that the level of playing and interpretation is VERY high, I found Frank's mannerism of anticipating the right hand with the left occurred often enough to be annoying.
That said, this set will give a great deal of pleasure, but I agree that I wouldn't want it to be the only one in my collection.

So wonderful that these have been re-released.......2006-03-27

I "grew up" with these recordings, bought the set on vinyl in college. I was thrilled to find they'd been re-released on CD; like the Guarneri recordings of the Beethoven string quartets. There is a world of thought and care and joy here.

Deep and thoughtful.......2006-01-12

This is a marvelous set of the piano sonatas. I learned about the set from Professor Greenberg's lecture series on the Beethoven piano sonatas (also worth getting from The Teaching Company). Greenberg uses this set to illustrate his lectures.

Yes, it's true that one can find flashier performances of a few of the pieces elsewhere (I've heard the Waldstein much more fiery), but these performances fit together nicely as a deep reading of the whole set. They are invariably beautiful and thoughtful. A few are, to me, mind-blowing (the Les Adieu, the Pathetique, second movement of the Opus 111, several of the scherzi).

Also, the sound on the CD is terrific. Hightly recommended.

Beethoven: The Complete Piano Sonatas & Concertos

Average customer rating:

The one collection I cannot imagine being without
MASTERY
Magisterial... mystical
Beethoven + Arrau = Divinity
Beethoven himself would be proud.

Beethoven: The Complete Piano Sonatas & Concertos
Claudio Arrau , Janos Starker , Ludwig van Beethoven , Bernard Haitink , Eliahu Inbal , Concertgebouw Orchestra Amsterdam , New Philharmonia Orchestra , and Henryk Szeryng
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
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ASIN: B00000C2F7
Release Date: 1999-11-09

Tracks:

Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 1 Allegro
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 2. Adagio
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 3. Menuetto. Allegretto
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 4. Prestissimo
Piano Sonata No. 2 In A, Op. 2 No. 2: 1. Allegro vivace
Piano Sonata No. 2 In A, Op. 2 No. 2: 2. Largo appassionato
Piano Sonata No. 2 In A, Op. 2 No. 2: 3. Scherzo. Allegretto
Piano Sonata No. 2 In A, Op. 2 No. 2: 4. Rondo. Grazioso
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 1. Allegro molto e con brio
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 2. Adagio molto
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 3. Finale. Prestissimo
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 1. Andante
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 2. Rondo. Allegro

Tracks:

Piano Sonata No.3 In C, Op.2 No.3: 1. Allegro con brio
Piano Sonata No.3 In C, Op.2 No.3: 2. Adagio
Piano Sonata No.3 In C, Op.2 No.3: 3. Scherzo. Allegro
Piano Sonata No.3 In C, Op.2 No.3: 4. Allegro assai
Piano Sonata No.4 In E Flat, Op.7: 1. Allegro molto e con brio
Piano Sonata No.4 In E Flat, Op.7: 2. Largo, con gran espressione
Piano Sonata No.4 In E Flat, Op.7: 3. Allegro
Piano Sonata No.4 In E Flat, Op.7: 4. Rondo. Poco allegretto e grazioso
6 Piano Veriations In F On An Original Theme, Op.34

Tracks:

Piano Sonata No.6 In F, Op.10 No.2: 1. Allegro
Piano Sonata No.6 In F, Op.10 No.2: 2. Allegretto
Piano Sonata No.6 In F, Op.10 No.2: 3. Presto
Piano Sonata No.7 In D, Op.10 No.3: 1. Presto
Piano Sonata No.7 In D, Op.10 No.3: 2. Largo e mesto
Piano Sonata No.7 In D, Op.10 No.3: 3. Menuetto. Allegro
Piano Sonata No.7 In D, Op.10 No.3: 4. Rondo. Allegro
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 1. Grave - Allegro di molto e con brio
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 2. Adagio cantabile
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 3. Rondo. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 1. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 2. Allegretto
Piano Sonata No.9 In E, Op.14 No.2: 3. Rondo. Allegro comodo

Tracks:

Piano Sonata No.10 In G, Op.14 No.2: 1. Allegro
Piano Sonata No.10 In G, Op.14 No.2: 2. Andante
Piano Sonata No.10 In G, Op.14 No.2: 3. Scherzo. Allegro assai
Piano Sonata No.11 In B Falt, Op.22: 1. Allegro con brio
Piano Sonata No.11 In B Falt, Op.22: 2. Adagio con molta espressione
Piano Sonata No.11 In B Falt, Op.22: 3. Minuetto
Piano Sonata No.11 In B Falt, Op.22: 4. Rondo. Allegretto
Piano Sonata No.12 In A Flat, Op.26: 1. Andante con Variazioni
Piano Sonata No.12 In A Flat, Op.26: 2. Scherzo. Allegro molto
Piano Sonata No.12 In A Flat, Op.26: 3. Marcia Funebre sulla morte d'un Eroe
Piano Sonata No.12 In A Flat, Op.26: 4. Allegro
Piano Sonata No.25 In G, Op.79: 1. Presto alla tedesca
Piano Sonata No.25 In G, Op.79: 2. Andante
Piano Sonata No.25 In G, Op.79: 3. Vivace

Tracks:

Piano Sonata No.13 In E Flat, Op.27 No.1: 1. Andante - Allegro - Tempo I
Piano Sonata No.13 In E Flat, Op.27 No.1: 2. Allegro molto e vivace
Piano Sonata No.13 In E Flat, Op.27 No.1: 3. Adagio con espressione
Piano Sonata No.13 In E Flat, Op.27 No.1: 4. Allegro vivace - Tempo I - Presto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 1. Adagio sostenuto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 2. Allegrettro
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 3. Presto agitato
Piano Sonata No.15 In D, Op.28 'Pastorale': 1. Allegro
Piano Sonata No.15 In D, Op.28 'Pastorale': 2. Andante
Piano Sonata No.15 In D, Op.28 'Pastorale': 3. Scherzo. Allegro vivace
Piano Sonata No.15 In D, Op.28 'Pastorale': 4. Rondo. Allegro ma non troppo
Piano Sonata No. 22 In F, Op.54: 1. In Tempo d'un Menuetto
Piano Sonata No. 22 In F, Op.54: 2. Allegretto

Tracks:

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

Tracks:

Piano Sonata No.21 In C, Op.53 'Waldstein': 1. Allegro con brio
Piano Sonata No.21 In C, Op.53 'Waldstein': 2. Introduzione. Adagio molto - Rondo. Allegretto moderato - Prestissimo
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Inroduzione col Basso del Tema. Allegretto vivace
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Variazioni I-XV
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Finale. Alla Fuga. Allegro con brio - Andante con moto
32 Piano Variations In C Minor On An Original Theme, WoO 80
Rondo In G, Op.51 No.2

Tracks:

Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 1. Allegro assai
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 2. Andante con moto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 3. Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 1. Adagio cantabile - Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 2. Allegro vivace
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 1. Das Lebewohl. Adagio - Allegro
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 2. Abwesenheit. Andante espressivo
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 3. Das Wiedersehn. Vivacissimamente
Piano Sonata No.27 In E Minor, Op.90: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Piano Sonata No.27 In E Minor, Op.90: 2. Nicht zu geschwind und sehr singbar vorgetragen
Piano Sonata No.20 In G, Op.49 No.2: 1. Allegro, ma non troppo
Piano Sonata No.20 In G, Op.49 No.2: 2. Tempo di Menuetto

Tracks:

Piano Sonata No.28 In A, Op.101: 1. Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo
Piano Sonata No.28 In A, Op.101: 2. Lebhaft. Marschmassig. Vivace alla Marcia
Piano Sonata No.28 In A, Op.101: 3. Langsam, und sehnsuchtsvoll. Adagio, ma non troppo, con affetto
Piano Sonata No.28 In A, Op.101: 4. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 1. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 2 Scherzo. Assai vivace - Presto - Prestissimo - Tempo I
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 3. Adagio sostenuto. Appassionato e con molto sentimento
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 4. Largo - Allegro risoluto

Tracks:

Piano Sonata No.30 In E, Op.109: 1. Vivave, ma non troppo - Adagio espressivo - Tempo I -2. Prestissimo
Piano Sonata No.30 In E, Op.109: 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
Piano Sonata No.31 In A Flat, Op.110: 1. Moderato cantabile molto espressivo
Piano Sonata No.31 In A Flat, Op.110: 2. Allegro molto
Piano Sonata No.31 In A Flat, Op.110: 3. Adagio ma non troppo
Piano Sonata No.31 In A Flat, Op.110: 4. Fuga. Allegro ma non troppo
Piano Sonata No.32 In C Minor, Op111: 1. Maestoso - Allegro con brio ed appassionato
Piano Sonata No.32 In C Minor, Op111: 2. Arietta. Adagio molto semplice e cantabile

Tracks:

33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Tema : Vivace - Variation I. Alla marcia maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation II Poco allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation III L'istesso tempo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IV Un poco piu vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation V Allegro vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VI Allegro ma non troppo e serioso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VII Un poco piu allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VIII Poco vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IX Allegro pesante e risoluto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation X Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XI Allegretto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XII Un poco piu moto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIV Grave e maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XV Presto scherzando
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVI Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVII
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVIII Poco moderato
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIX Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XX Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXI Allegro con brio - Meno allegro - Tempo I - Meno allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXII Allegro molto alla 'Notte giorno faricar' di Mozart
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIII Allegro assai
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIV Fughetta. Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXV Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVI
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVIII Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIX Adagio ma non troppo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXX Andante sempre cantabile
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXI Largo, molto espressivo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXII Fuga. Allegro - Poco adagio
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXIII Tempo di minuetto moderato

Tracks:

Piano Concerto No.1 In C, Op. 15: 1. Allegro con brio
Piano Concerto No.1 In C, Op. 15: 2. Largo
Piano Concerto No.1 In C, Op. 15: 3. Rondo. Allegro scherzando
Piano Concerto No.2 In B Flat, Op.19: 1. Allegro con brio
Piano Concerto No.2 In B Flat, Op.19: 2. Adagio
Piano Concerto No.2 In B Flat, Op.19: 3. Rondo. Molto allegro

Tracks:

Piano Concerto No.3 in C minor, Op.37: 1. Allegro con brio
Piano Concerto No.3 in C minor, Op.37: 2. Largo
Piano Concerto No.3 in C minor, Op.37: 3. Rondo. Allegro
Piano Concerto No.4 In G, Op.58: 1. Allegro moderato
Piano Concerto No.4 In G, Op.58: 2. Andante con moto
Piano Concerto No.4 In G, Op.58: 3. Rondo. Vivace

Tracks:

Piano Concerto No.5 In E Flat, Op.73 'Emperor': 1. Allegro
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 2. Adagio un poco mosso
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 3. Rondo. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 1. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 2. Largo
Triple Concerto For Piano, Violin And Cello In C, Op.56: 3. Rondo alla Polacca

Amazon.com

Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find.

Arrau's devotion to Beethoven is memorialized by this budget-priced, 14-CD collection of his recordings, mostly from the 1960s, of the composer's 32 sonatas, five concertos (with Bernard Haitink conducting the Concertgebouw Orchestra of Amsterdam), and most important sets of variations. His Beethoven is not always successful. His sometimes ponderous seriousness keeps early works, such as the Sonata No. 3 and the Concerto No. 2, from smiling, and his lack of spontaneity makes the whimsy in Sonata No. 26 and the "Diabelli Variations" sound labored. But in the composer's weightiest works, Arrau can produce revelations. Certainly, no one plays Sonata No. 32 better. The first movement sounds like thunder that comes ever closer and the finale's chains of trills, played with exquisite finish and expressive perfection, transport the listener to a higher realm. If Arrau could be single-minded in his devotion to the composer's score, he also believed that music could encompass everything. When Arrau was at his best--as he frequently is in this set--it does. --Stephen Wigler

Customer Reviews:

The one collection I cannot imagine being without.......2007-01-30

It would be absurd to recommend recommending one Beethoven cycle to the exclusion of all others, yet it is Arrau's cycle to which I repeatedly return, despite some flaws mentioned by other reviewers.

They are flaws which can be forgiven. Scherzi which would be brimming with mirth & vitality in the hands of others may come up short, but it is more than compensated for by the revelations to be found as Arrau explores every aspect of Beethoven at his most profound. There always seems to be something new to be discovered. Flabby? It is hard to imagine how someone could come to this conclusion.

Even the sound quality for recordings dating back into the 1960's has been remastered so as to be acceptable to all but the most spoiled of listeners, who apparently are satisfied only with the most seamless homogenized studio sound. Those who can't get past the slightly imperfect sound quality are focusing on the wrong details.

If the greatness of the performance were not enough, the price should be enough to convince any serious music lover to add these to a CD collection. One cannot overstate how rewarding this collection will be to anyone who does not yet know the artistry of Arrau.

MASTERY.......2007-01-26

One man's viewpoint: Arrau amazes me as he sets the notes down with such clean deliberation! Total command. No matter how fast Beethoven is charging along. And as Arrau gets every note, we find the real Beethoven genius shining through - after all, as raw material, this is some of the finest piano music anywhere. Of course, this playing delivers passion and heart-and-soul communication too. And a sense of commitment and strength.
I suggest this set - with about nine stars! Mastery in art. *** For a lighter, more joyful touch - and great tone - ALSO get hold of O'Conor's set of the 32. I suggest this set - with about nine stars!

Magisterial... mystical.......2006-11-03

I've been listening to Beethoven's sonatas for fifty years and have heard all of them by some, and some of them by all the available recorded performers. Overall, Claudio Arrau is my favorite interpreter of the sonatas. To me he has an inner affinity with Beethoven that is uncanny. Beethoven was a man of great character. And that greatness, detached from his person in the form of musical ideas, enters the listener through intermediaries such as Arrau. When it is done right, it works a sort of righteous therapy, and makes the listener a better person for the hearing.

Arrau describes Beethoven's greatness in his essay "Thoughts on Beethoven" in the 33 1/3 Philips LP edition. "Beethoven has always stood for the spirit of man victorious. His message of endless stuggle concluding in the victory of renewal and spiritual rebirth...his life was an existential fight for survival...In the sense that he mastered both his life and his art to reach the ultimate heights of creation and transfiguration, he will last as long as man's spirit to prevail lasts on this earth." Part of the greatness of Beethoven's character came from his ability to be intimately close and at the same time at an infinite distance above his listener. Arrau possesses this same character, and his qualities as a man and artist are why he is able to so aptly render the greatness of Beethoven.

A book titled "Conversations with Arrau" was written by Joseph Horowitz to celebrate the artists's 80th birthday in 1982. I've only read the extracts published with the Philips edition, but there is enough information to get a feel for Arrau's character. He guarded the purity of his environment. He shunned parties and avoided small talk. He never drank or smoked, never learned to drive a car, boil an egg, or even operate a phonograph. His only hobby was gardening. Horowitz describes him as the embodiment of the nineteenth-century model of the artist as solitary, suffering hero. He was small (5'6") and frail, but in 1982 at age 80 he was still playing more that 70 concerts a season.

Rather than launch a discussion of his individual works (this has been done admirably by many of the reviewers) I will remark on just a few. I never properly appreciated the Fourth and the Seventh Sonatas until I heard Arrau's reading of these works. His Fourth takes 31 minutes, 30 seconds. Annie Fischer, another great interpreter of Beethoven, plays it in 27 minutes, 30 seconds. And Ms. Fischer does not play at a hurried tempo.

Yes, Arrau plays the sonatas at a slower tempo than any other interpreter. He also achieves a mystical quality in his interpretations that is unmatched. The second movement of the Seventh comes in at 10 min, 30 seconds. It is the greatest 10 1/2 minutes of piano music ever conceived. When interpreted by Arrau it becomes a microcosm of Beethoven's life and work. The second movement of the Appassionata is a sacred hymn.

Arrau's five piano concertos are splendid. I've heard no other renditions of the concertos with slow movements that equal Arrau's. No one plays the middle movements with his expressiveness and sense of the numinous. And his rendition of the "Eroica Variations" is on a par with the top few recordings of this piece.

If you have any interest in Beethoven, at whatever level, this bargain is outstanding.

Beethoven + Arrau = Divinity.......2006-10-29

If you love Beethoven, Arrau's interpretation will certainly be a joyful addition to your classical music collection. For me, his is the definitive Beethoven.

Though some will likely disagree, I have listened to many other great pianists' recordings of Beethoven sonatas, and they are great (don't get me wrong). Yet Arrau is unique in his ability to bring to light subtleties in the melodies that no one else can, and these often turn out to be the most enlightening and resonant of passages. His Op. 111 is indeed unparalleled, and his recording of the 2nd movement is one of my favorite pieces in the world. On top of that, his rendition of the Moonlight Sonata, his Waldstein, his Concertos, every recording on this boxed set is a testament to the depth Arrau worked diligently and consciously to achieve; depth that transcends technical showmanship and for the intuitive listener can certainly elicit fleeting glimpses of divine ecstasy.

At any price, it's a steal - beauty of this magnitude is all too rare.

Beethoven himself would be proud........2006-06-19

This is a masterpiece. Don't listen to the one negative review, as this guy is tone deaf. This compilation of Beethoven's music is a treasure to behold. A bargain at twice the price, this is well worth the money. Excellent! Excellent! Excellent!

Average customer rating:

Beautifully musical
The earlier the composition the better the playing
why!?
Elevator Music
Richard Goode Plays Beethoven Sonatas

Beethoven: The Complete Sonatas
Ludwig van Beethoven , and Richard Goode
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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ASIN: B000005J2D
Release Date: 1993-10-05

Tracks:

Allegro
Adagio
Menuetto: Allegretto
Prestissimo
Allegro Vivace
Largo appassionato
Scherzo: Allegretto
Grazioso
Allegro con brio
Adagio
Scherzo And Trio: Allegro
Assai Allegro

Tracks:

Allegro molto e con brio
Adagio Molto
Finale: Prestissimo
Allegro
Allegretto
Presto
Presto
Largo e mesto
Menuetto: Allegro
Rondo: Allegro

Tracks:

Allegro molto e con brio
Largo, con grand' espressione
Allegro
Rondo: Poco allegretto e grazioso
Allegro
Allegretto
Rondo: Allegro comodo
Grave, Molto allegro e con brio
Adagio cantabile
Rondo: Allegro

Tracks:

Allegro
Andante
Scherzo: Assai allegro
Allegro con brio
Adagio con molto espressione
Menuetto
Rondo: Allegretto
Andante con Variazioni
Scherzo: Allegro molto
Marcia funebre (Sulla morte d'un Eroe)
Allegro

Tracks:

Andante, Allegro, Andante
Allegro molto vivace
Adagio con espressione
Allegro vivace
Adagio sostenuto
Allegretto
Presto agitato
Allegro
Andante
Scherzo: Allegro vivace
Rondo: Allegro ma non troppo

Tracks:

Allegro vivace
Adagio grazioso
Rondo: Allegretto
Largo, Allegretto, Allegro
Adagio
Allegretto
Allegro
Scherzo: Allegretto vivace
Menuetto: Moderato e grazioso
Presto con fuoco

Tracks:

Allegro con brio
Introduzione: Adagio molto
Rondo: Allegretto moderato
In tempo d'un Menuetto
Allegretto
Allegro assai
Andante con moto
Allegro non troppo

Tracks:

Andante
Rondo: Allegro
Allegro ma non troppo
Tempo di Menuetto
Adagio cantabile; Allegro ma non troppo
Allegro vivace
Presto alla tedesca
Andante
Vivace
Adagio: Allegro (Les Adieux)
Andante espressivo (L'Absence)
Vivacissimamente (Le Retour)
Vivaciously And With Feeling And Expression Throughout
Not Too Quickly And Very Songfully

Tracks:

Somewhat Lively And With Deepest Feeling
Lively. March Tempo
Slow And Yearning; Tempo Of The First movement; Swiftly, But Not Too, And With Determination
Allegro
Scherzo: Assai vivace
Adagio sostenuto
Largo; Fuga; Allegro risoluto

Tracks:

Vivace, ma non troppo, Adagio espressivo
Prestissimo
Tema; Molto cantabile & espressivo; Variazioni I-VI
Moderato cantabile, molto espressivo
Allego molto
Adagio ma non troppo; Arioso dolente; Fuga; Allegro, ma non troppo; L'istesso tempo di Arioso; L'inversione della Fuga
Maestoso, Allegro con brio ed appassionato
Arietta; Adagio molto semplice e cantabile

Amazon.com essential recording

It's interesting that the great Beethoven sonata cycles are seldom the ones by the big-name virtuosos. Horowitz never attempted one. Neither did Rubinstein. Ashkenazy recorded them all, but with only partial success. Richter never managed all 32 works at one time, and Gilels died before completing his cycle. The most successful complete recordings--Schnabel, Kempff, Arrau, and Backhaus--are all by pianists with a solidly intellectual mindset, however powerful their technique. Goode joins this select company, turning in performances of uncompromising integrity and musical strength. Of course, his reputation as a musician's musician precedes him: here is a player sensitive to Beethoven's every nuance, presenting the composers thoughts with exemplary clarity and taste. This is the the Beethoven cycle for the '90s. --David Hurwitz

Customer Reviews:

Beautifully musical.......2007-05-04

I have been thoroughly enjoying Goode's recordings, not because they are the most precise or powerful of the recordings (Perahia and Gilels are in my opinion the real stand-outs under those criteria), but rather because they are beautifully musical. Most of the pianists who have published recordings of Beethoven's piano sonatas are technically proficient enough to do a passable job, but not all of the recordings are actually interesting to listen to. From this perspective, Goode's recordings are among my favorite.

The earlier the composition the better the playing.......2007-04-25

Richard Goode's Beethoven sonata traversal is impressive, no doubt about that. His technique is clean and his attention to dynamics and other score markings is impeccable. Goode emphasizes the classicism of the composition, and to the extent that the sonatas are strictly classical (100% correspondence through #21, opus 53, the "Waldstein")

Oddly, perhaps, I listened to this complete sonata set in reverse, starting with opus 111 and ending with opus 2. This way of hearing the evolution of the sonatas in reverse gave me a certain perspective on the issue of classical versus nonclassical (Romantic, content no longer matched equally with form) that sort of jumped out at me. As structures and compositional methods simplified (in backwards time) the essence of Beethoven's thinking became more clear, making the earliest sonatas seem more powerful and intense than they usually tend to be. (Or maybe it is Goode's playing of them, after all.)

The three sonatas that make up opus 2 (f minor, A major, C major) have probably never been played or thought through so well as in this set. The excellence continues unmitigated through sonata #21 (the "Waldstein"). In fact, Goode's rendering of the "Waldstein" is as good as it gets and, as it were, knocked my socks clean off technically (blazing speed with clarity) and interpretively. Other great Beethoven players such as Rudolf Serkin, Kempff, Arrau, and Barenboim may bring this or that in varying degrees to the table, but none has any overall advantage over Goode for sonatas #1 through #21. Then, to my mind, things change. The playing remains clean and highly literal to the end of the cycle but the nobility and imagination required to present the later sonatas is lacking. Goode made me wonder why Beethoven wrote #29 (the "Hammerklavier"), for example, and left me wanting substance in opera 109, 110, and 111.

However, there are precious few complete sets of these benchmarks of Western cultural achievement, so one should not be overly harsh with any that are for the most part successful, as this set by Goode undoubtedly is. One other thing: The recorded sound is sub-par, somewhat muffled and lacking presence. Once can train oneself to ignore this but why should one have to when alternatives with outstanding recorded sound exist. Goode should have been better served in this regard.

Bottom line: Serious Beethoven people should experience this set. Those who only buy one set might consider Kempff or Barenboim instead.

why!?.......2007-03-08

I can't understand why all the fuss about this item. The authors of the penguin guide accorded such distinctions to Goode's recording of Beethoven's sonatas that I decided to give it a listen and finally discover what new ground it was breaking. As I turned off my stereo and absent-mindedly put the cds back in their beautiful cases I began to feel that disturbing anguish which often arises from having spent too much money on a basically dull and disappointing item. Germans poetically call it Gewissensbisse, literally ''bites on the counsciousness''; we call it ''remorse''. Goode adds nothing new to our understanding of Beethoven's music, nor does he disclose new aspects of the sonatas which could have been overlooked by those who trod this path before him. If a pianist is intent on treading a path which has already been followed thousands of times before, he's expected at least to justify why he thinks his particular take on the work in question should be heard by the average listener who's already acquainted with it through the recordings of eminent figures like Kempff, Ashkenazy, Barenboim, Arrau and many others, and why a newcomer to Beethoven's music should buy his performance rather than the hundreds of others that are already available on the market. To sum up, he's expected to provide something different and relevant. Goode unfortunately fails to meet all these conditions.

Elevator Music.......2006-12-07

I tried to like this set- I really did. This was my first set of Beethoven's complete sonata's - it got great reviews and I was excited to get it but try as I might I had trouble enjoying it. Where was the passion, the dynamism, the creativity I associated with Beethoven? It was work getting through it - the music seemed dull, lacking in profundity and spontaneity. There was a kind of elegaic beauty to it to be sure but Goode seemed to me to be connecting with this music as from a great distance, as if it was a story he was telling about long, long ago.

Then I picked up the Gulda set and there it was; the power, the dyanmism, the felicity, poetry and spontaneity of Beethoven. I tried Goode again, I thought maybe I had missed something but no, while it was pretty and elegant, the magic of Beethoven was gone again. For me this was homogenized Beethoven.

Richard Goode Plays Beethoven Sonatas.......2006-11-04

Richard Goode Plays Beethoven's Thirty-two Sonatas for Piano

I was looking through my mementos for the concert programs they used to have in St Paul's and Trinity Church down on Wall Street during lunch hours. For two days a week back in the 1970's, `80's and 90's when I was on Wall Street these sister Episcopalian churches would have noonday concerts. In fact, that's what they were called, Noonday Concerts. I remember that I had not previously heard Richard Goode play, but I had heard of him, and when Trinity Church announced that he was to play some Beethoven sonatas at the Noonday Concerts I thought I'd go hear him. Back in those days these concerts were free, and they frequently had distinguished, well-known artists . I was with my first wife when I first went to hear him. I mention this because it wasn't until years later, when I was with my present wife, that I discovered that my teacher, John Kamitsuka, was a student of Goode's.

The first time I saw RG, he came out of the left side of the Trinity Church altar at a fairly brisk pace, with a shy but friendly smile on his face, went to the piano, took a short bow, looked once around the audience, and promptly seated himself at the piano. He took some time to adjust the bench and then rubbed his hands together, looked up briefly, and then he launched into the Beethoven. More than launched, actually, he recreated the Beethoven. I didn't know it at the time, but he was in the midst of a ten year project to record all thirty-two sonatas and he was playing three or four a year in these concerts. I don't remember what he played that day or on the two or three more occasions I had over the next few years to hear him play, but I was so pleased with his performance that I tried not to miss any opportunity to hear him play.

I had bought this set some years ago and have had the occasion recently to study it. (I'm on this jag to start enjoying all the good stuff I have while I'm still kicking.) After listening to the set a few times, I felt that I had this bag of jewels and I could put my hand in and out would come this jewel or that jewel and each jewel was as beautiful as the others. In this set, there's not a bad jewel in the bunch.

So now, quoth he, what about this set? You will find that Goode has an impressive dynamic range and that the architecture of his interpretations is very cohesive: he's put a lot of thought into structure and the results are very convincing. His playing is pellucid, with hardly any blurring due to pedal. When he does blur, it's clearly for effect. He has a magnificent technique and he plays with the energetic forthrightness that is required by the music, but his playing is not strident. He prefers subtle coloring effects and precise rhythms to express the deeper dimensions of these pieces. One thing you will notice is that his hands are absolutely independent. For example, he does this trick throughout: he'll begin a crescendo, but the right hand will `crescend' sooner than the left- and the left may actually get louder and softer while the right hand continues. It makes the playing very colorful.

And now some specifics: (things that I especially like)
Sonata #2, third mvt, Scherzo
#5, third mvt, Finale (here is one place that I really get the sense of the terrific architectural coherence of his playing)
#6, third mvt, Presto: fun
#'s 10,11, 12- three gems.
#10, first mvt, Allegro
#10, third mvt, Allegro assai: perfection.
#12, fourth mvt, Allegro
#13, second mvt, Allegro molto vivace: specifically timing/rhythm
#15
#18, first mvt, Allegro
#21, last two mvts, very contemplative interpretations, different. I think I prefer Schnabel here, especially last mvt.
#26, Das Lebwohl, Les Adieux. I think this is my favorite performance of this sonata, especially the last mvt. RG brings out all the joy that Beethoven must have felt on the return of his friend and patron.
#29, fourth mvt, Fuga. Very powerful reading. (Aside: compare the music here with the Grosse Fuge, Op 133 String quartet.)
#30, another great reading. I especially like the third mvt, variations #'s II & IV
#31 L'inversione della fuga: very powerful reading

Back in the days when I was working with Kamitsuka, I asked him who his favorite living pianists were. He said Martha Argerich was `pretty good'. That's about as high a compliment as he was willing to make for any living pianist. (He had a lot to say about bad pianists.) Then some time later RG came out with a Brahms CD. I said to Kamitsuka, `You know, John, Richard Goode just came out with a cd of Brahms late works.' He looked at me briefly and then looked away out the window that had a view of the Palisades in New Jersey and said, `Oh yeah? Hmm... it must be pretty good.'

So, hope you enjoy these as much as I have.

Mozart: The Complete Sonatas; Fantasias, K397 & K475

Average customer rating:

Gould and Mozart...
Genius plays Genius
SCARY !
Good for playing in shopping malls or "romantic evenings"...
Mozart For Masochists

Mozart: The Complete Sonatas; Fantasias, K397 & K475

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Beethoven: Piano Sonatas, Vol. 1 - Nos, 1-3, 5-10, 12-14
The Glenn Gould Edition: Ludwig Van Beethoven Piano Sonatas, Volume II
Glenn Gould Edition: Chopin / Mendelssohn / Scriabin / Prokofiev
Beethoven: The 5 Piano Concertos
Gould Meets Menuhin

ASIN: B0000028NT
Release Date: 1995-02-07

Tracks:

Sonata No. 1 In C Major, K.279: I. Allegro
Sonata No. 1 In C Major, K.279: II. Andante
Sonata No. 1 In C Major, K.279: III. Allegro
Sonata No. 2 In F Major, K.280: I. Allegro Assai
Sonata No. 2 In F Major, K.280: II. Adagio
Sonata No. 2 In F Major, K.280: III. Presto
Sonata No. 3 In B Flat Major, K.281: I. Allegro
Sonata No. 3 In B Flat Major, K.281: II. Andante Amoroso
Sonata No. 3 In B Flat Major, K.281: III. Rondeau. Allegro
Sonata No. 4 In E Flat Major, K.282: I. Adagio
Sonata No. 4 In E Flat Major, K.282: II. Menuetto I - Menuetto II
Sonata No. 4 In E Flat Major, K.282: III. Allegro
Sonata No. 5 In G Major, K.283: I. Allegro
Sonata No. 5 In G Major, K.283: II. Andante
Sonata No. 5 In G Major, K.283: III. Presto
Sonata No. 6 In D Major, K.284: I. Allegro
Sonata No. 6 In D Major, K.284: II. Rondeau en Polonaise. Andante
Sonata No. 6 In D Major, K.284: III. Theme. Andante - Variationen I - XII

Tracks:

Sonata No. 7 In C Major, K.309: I. Allegro Con Spirito
Sonata No. 7 In C Major, K.309: II. Andante Un Poco Adagio
Sonata No. 7 In C Major, K.309: III. Rondeau. Allegretto Grazioso
Sonata No. 8 In A Minor, K.310: I. Allegro Maestoso
Sonata No. 8 In A Minor, K.310: II. Andante Cantabile Con Espressione
Sonata No. 8 In A Minor, K.310: III. Presto
Sonata No. 9 In D Major, K.311: I. Allegro Con Spirito
Sonata No. 9 In D Major, K.311: II. Andante Con Espressione
Sonata No. 9 In D Major, K.311: III. Rondeau. Allegro
Sonata No. 10 In C Major, K.330: I. Allegro Moderato
Sonata No. 10 In C Major, K.330: II. Andante Cantabile
Sonata No. 10 In C Major, K.330: III. Allegretto

Tracks:

Sonata No. 11 In A Major, K.331: I. Tema. Andante Grazioso E Variazioni
Sonata No. 11 In A Major, K.331: II. Menuet -Trio
Sonata No. 11 In A Major, K.331: III. (Rondo) Alla Turca. Allegretto
Sonata No. 12 In F Major, K.332: I. Allegro
Sonata No. 12 In F Major, K.332: II. Adagio
Sonata No. 12 In F Major, K.332: III. Allegro Assai
Sonata No. 13 In B Flat Major, K.333: I. (Allegro)
Sonata No. 13 In B Flat Major, K.333: II. (Andante Cantabile)
Sonata No. 13 In B Flat Major, K.333: III. (Allegretto Grazioso)
Sonata No. 14 In C Minor, K.457: I. Allegro
Sonata No. 14 In C Minor, K.457: II. Adagio
Sonata No. 14 In C Minor, K.457: III. Molto Allegro

Tracks:

Sonata No. 15 In F Major, K.533: I Allegro (K.533)
Sonata No. 15 In F Major, K.533: II. Andante (K.533)
Sonata No. 15 In F Major, K.533: III. Rondo. Allegretto (K.494)
Sonata No. 16 In C Major, K.545 'Sonata Facile': I. Allegro
Sonata No. 16 In C Major, K.545 'Sonata Facile': II. Andante
Sonata No. 16 In C Major, K.545 'Sonata Facile': III. Rondo. Allegretto
Sonata No. 17 In B Flat Major, K.570: I. Allegro
Sonata No. 17 In B Flat Major, K.570: II. Adagio
Sonata No. 17 In B Flat Major, K.570: III. Allegretto
Sonata No. 18 In D Major, K.576: I. Allegro
Sonata No. 18 In D Major, K.576: II. Adagio
Sonata No. 18 In D Major, K.576: III. Allegretto
Fantasia In D Minor, K.397: Andante
Fantasia In C Minor, K.475: Adagio

Customer Reviews:

Gould and Mozart..........2006-10-27

Anyone who is a fan of Gould knows his personal opinion of the Mozart sonatas. Listening to this interpretation of Mozart is about as entertaining as being in a room full of typewriters and screaming infants--both monotonous and completely irritating at the same time. If you're new to Gould go to his interpretation of Bach's Well Tempered Clavier or the English suites...if you want definitive recordings of the Mozart sonatas try Brendel, Eschenbach or Uchida. There is no denying Gould's genius...it just not found in this recording.

Genius plays Genius.......2006-10-22

Gould has the most crisp keyboard execution and the brighest tone I've ever heard. His clarity during the fastest passages is frightening. My favorite of his playing in the box set is: Sonata no.8, 1st movement-extreme powerhouse virtuoso performance(I get quite worked up when I listen to it!) His rendition of Sonata no.11 Ronda Alla Turca may be annoying to some(slow); also some people may think many of the adagios are too slow; But the first and third movements make up for that; And when it comes to counterpoint, technique, clarity of voicings, and spirit, Gould is the best.

SCARY !.......2006-08-04

I guess I'd have to agree with those who feel that Gould was somehow ridiculing Mozart with this interpretation. It's all a matter of taste, and some obviously find this bizarre, eccentric recording to their liking, but if you're an average listener who is not into the weird stuff and just wants a decent set of Mozart's Piano Sonatas, this probably isn't for you, as it isn't for me.

Good for playing in shopping malls or "romantic evenings"..........2006-05-13

I gave up an initial idea to be a referee to all these pro et contra comments; simply, because I eternally love Mozart, and this ridiculous playing really harms me. People are looking for a quality entertainment, not for some silly demonstration. Mr. Gould should be awared that his crisp technique means absolutely nothing to millions who are looking for right performance of Mozart's "11.-14." sonatas. Nevertheless, his knowing of style is undeniable which makes impression that his neglect playing is deeply purposeful. The question arises who he tries to intrigue, an audience or Mozart; an audience won't tolerate it. Mozart, on the contrary, "knew" that the world is full of different kinds of "wizards" and "creative genius" so his A-dur sonata is probably his testimony to all these "humans".

An A-dur sonata is a kind of "board exam" to all eminent keyboardists. Some of them play brilliantly just one of movements but have no energy to make complete sonata polished. Even though the style is well-known ,"or is it?", pianists usually lack the energy in the allegretto which lids them to bring just an ordinary performance. Glenn Gould,a smarty guy, avoids any personal inconvenience by a little "recreating" the whole piece. Changing a tempos, he brakes the sonata in to three pieces with ambiguous concept.

Sonatas 12. and 14. are tent to be Ok. I'l let it go, just as it is- a little tolerance of mine. Now, a famous "c-mol" K.457 is totally ruined. It starts with a good tempo which is introduction to a great tragedy that might follow. However, Glenn Gould misses to underline beginnings and ends of phrases in the exposition of the themes, so he misses the whole Allegro movement, then his escape is a make up, adding ornamentations in "Allegro assai" which I found complete lack of wisdom and good sense. The rest of sonatas is just demonstration of his superior technique which is completely unbearable.

In addition, a "closer look" to tempos of "c-mol" pair, fantasia and sonata, reveals a question whether Glenn Gould is able to make the whole idea realized, particularly if a concept is embedded with a new material such as tonalities and tempi. He just elaborates his own stubborn concept, based on virtuoso technique, and unchangeable, perfect but pointless even disturbing articulation- what a horrable iterpretation! This two pieces were turnover in Mozart's style and, thus, ask for really intelligent musician to reveal full blast of new ideas charged with personal emotions and inner tensions. It is -too much, for Glenn.

(we live in a real world and I find myself as a medioceree among other people devoted to science, my job)- but I love Mozart!

For the A-dur sonata I'd highly recommend Anthony Newman's recordings, also Newman is the best at Tragic K.310, Sonata Semplice and all early sonatas, particularly K.280 and the following G-dur; and following is my list of favorite recordings: Jos Van Immerseel and Demus Jorg- concertos, Ton Koopman and Pierre Hantai early works for harpsichord, Jeno Jando K.311, Bart Van Oort pair "c-mol" fantasia and sonata, and "d-mol" fantasia, as well, John Van Buskirk K.282, Rampe K.332, Lars-Urlik Mortnsen three concertos K.107, Levin early concertos 1-4 after C.P.E.Bach...Also I highly recomend virtuoso duos: Immerseel- Schroeder 6 Vienna sonatas K.296- 380; and Davos- Kuijken K. 526...
Mirro

Mozart For Masochists.......2006-04-06

I love Glenn Gould -- when he's playing Bach, that is. But Gould hated Mozart, and while some of his early Mozart recordings are quite nice, the Mozart recordings he did in the 60's and 70's (i.e., on these discs) were simply bizarre. And not in a good way. They are exhibitions in spite, and spite is not fun to listen to. Granted, some of the slow movements are played beautifully -- but there's more to Mozart than slow movements. The fast movements (i.e., two thirds of the music in the average sonata) are a horror.

If you want to hear Gould at his eccentric best, buy anything he did with Bach -- or his Haydn albums, his early Beethoven sonatas (avoid Sonata No. 23, though), his Sibelius, Scriabin, Schoenberg or his Byrd & Gibbons albums. But stay clear of Mozart.

Average customer rating:

A good reference copy
Lowest-cost complete set
A very good bargain buy for Beethoven Sonatas
YOu get what you pay for...and in this case,,,a pinch more.
Great Bargain - Great Playing - So So Sound Quality

Beethoven: Complete Piano Sonatas

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bach: The Well-Tempered Clavier, Books I & II
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Mozart: Piano Sonatas
Beethoven - The Complete String Quartets / Alban Berg Quartet
Mozart:The Complete Piano Sonatas and Variations

ASIN: B0000037B3
Release Date: 1997-10-07

Tracks:

Sonata No. 1 In F Minor, Op. 2 No. 1: I. Allegro
Sonata No. 1 In F Minor, Op. 2 No. 1: II. Adagio
Sonata No. 1 In F Minor, Op. 2 No. 1: III. Allegretto
Sonata No. 1 In F Minor, Op. 2 No. 1: IV. Prestissimo
Sonata No. 22 In F Major, Op. 54: I. In Tempo dnuetto
Sonata No. 22 In F Major, Op. 54: II. Allegreto
Sonata No. 23 In F Minor, Op. 57 'Appassionata': I. Allegro assai
Sonata No. 23 In F Minor, Op. 57 'Appassionata': II. Andante con moto
Sonata No. 23 In F Minor, Op. 57 'Appassionata': III Allegro ma non troppo

Tracks:

Sonata No. 2 In A Major, Op. 2 No. 2: I. Allegro vivace
Sonata No. 2 In A Major, Op. 2 No. 2: II. Largo appassionata
Sonata No. 2 In A Major, Op. 2 No. 2: III. Scherzo: Allegretto
Sonata No. 2 In A Major, Op. 2 No. 2: IV. Rondo: Grazioso
Sonata No. 24 In F Sharp Major, Op. 78: I. Allegro ma non troppo
Sonata No. 24 In F Sharp Major, Op. 78: II. Allegro vivace
Sonata No. 28 In A Major, Op. 101: I. Allegretto, ma non troppo
Sonata No. 28 In A Major, Op. 101: II. Vivace alla marcia
Sonata No. 28 In A Major, Op. 101: Adagio, ma non troppo, con affetto - Allegro

Tracks:

Sonata No. 3 In C Major, Op. 2 No. 3: I. Allegro con brio
Sonata No. 3 In C Major, Op. 2 No. 3: II. Adagio
Sonata No. 3 In C Major, Op. 2 No. 3: III. Scherzo: Allegro
Sonata No. 3 In C Major, Op. 2 No. 3: IV. Allegro assai
Sonata No. 19 In G Minor, Op. 49 No. 1: I. Andante
Sonata No. 19 In G Minor, Op. 49 No. 1: II. Rondo: Allegro
Sonata No. 21 In C Major, Op. 53 'Waldstein': I. Allegro con brio
Sonata No. 21 In C Major, Op. 53 'Waldstein': II. Introduzione - Rondo

Tracks:

Sonata No. 4 In E Flat Major, Op. 7: I. Allegro molto e con brio
Sonata No. 4 In E Flat Major, Op. 7: II. Largo, con gran espressione
Sonata No. 4 In E Flat Major, Op. 7: III. Allegro
Sonata No. 4 In E Flat Major, Op. 7: IV. Rondo: Poco allegretto e grazioso
Sonata No. 10 In G Major, Op. 14 No. 2: I. Allegro
Sonata No. 10 In G Major, Op. 14 No. 2: II. Andante
Sonata No. 10 In G Major, Op. 14 No. 2: III. Scherzo: Allegro assai
Sonata No. 26 In E Flat major, Op. 81a 'Les adieux, l'absence et le retour': I. Adagio - Allegro
Sonata No. 26 In E Flat major, Op. 81a 'Les adieux, l'absence et le retour': II. Andante espressivo
Sonata No. 26 In E Flat major, Op. 81a 'Les adieux, l'absence et le retour': III. Vivacissimamente

Tracks:

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

Tracks:

Sonata No. 11 In B Flat Major, Op. 22: I. Allegro con brio
Sonata No. 11 In B Flat Major, Op. 22: II. Adagio con molto espressione
Sonata No. 11 In B Flat Major, Op. 22: III. Menuetto
Sonata No. 11 In B Flat Major, Op. 22: IV. Rondo: Allegretto
Sonata No. 20 In G Major, Op. 49 No. 2: I. Allegro, ma non troppo
Sonata No. 20 In G Major, Op. 49 No. 2: II. Tempo di minuetto
Sonata No. 15 In D Major, Op. 28 'Pastoral': I. Allegro
Sonata No. 15 In D Major, Op. 28 'Pastoral': II. Andante
Sonata No. 15 In D Major, Op. 28 'Pastoral': III. Scherzo: Allegro vivace
Sonata No. 15 In D Major, Op. 28 'Pastoral': IV. Rondo: Allegro ma non troppo

Tracks:

Sonata No 25 In G Major, Op. 79: I. Presto alla tedesca
Sonata No 25 In G Major, Op. 79: II. Andante
Sonata No 25 In G Major, Op. 79: III. Vivace
Sonata No 17 In D Minor, Op. 31 No. 2 'Tempest': I. Allegro
Sonata No 17 In D Minor, Op. 31 No. 2 'Tempest': II. Adagio
Sonata No 17 In D Minor, Op. 31 No. 2 'Tempest': III. Allegretto
Sonata No. 15 In E Flat Major, Op. 31 No. 3: I. Allegro
Sonata No. 18 In E Flat Major, Op. 31 No. 3: II. Scherzo: Allegro vivace
Sonata No. 18 In E Flat Major, Op. 31 No. 3: III. Menuett: Moderato e grazioso
Sonata No. 18 In E Flat Major, Op. 31 No. 3: IV. Presto con fuoco

Tracks:

Sonata No. 13 In E Flat Major, Op 27 No. 1: I. Andante
Sonata No. 13 In E Flat Major, Op 27 No. 1: II. Allegro molto e vivace
Sonata No. 13 In E Flat Major, Op 27 No. 1: III. Adagio con espressione
Sonata No. 13 In E Flat Major, Op 27 No. 1: IV. Allegro vivace
Sonata No. 29 In B Flat Major, Op. 106 'Hammerklavier': I. Allegro
Sonata No. 29 In B Flat Major, Op. 106 'Hammerklavier': II. Scherzo: Assai vivace
Sonata No. 29 In B Flat Major, Op. 106 'Hammerklavier': III. Adagio sostenuto
Sonata No. 29 In B Flat Major, Op. 106 'Hammerklavier': IV. Largo - Allegro risoluto

Tracks:

Sonata No 9 In E Major, Op. 14 No. 1: I. Allegro
Sonata No 9 In E Major, Op. 14 No. 1: II. Allegretto
Sonata No 9 In E Major, Op. 14 No. 1: III. Rondo: Allegretto
Sonata No. 16 In G Major, Op. 31 No. 1: I. Allegro vivace
Sonata No. 16 In G Major, Op. 31 No. 1: II. Adagio grazioso
Sonata No. 16 In G Major, Op. 31 No. 1: III. Rondo: Allegretto
Sonata No 30 In E Major, Op. 109: I. Vivace ma non troppo - Adagio espressivo
Sonata No 30 In E Major, Op. 109: II. Prestissimo
Sonata No 30 In E Major, Op. 109: III. Gesangvoll mit innigster Empfindung

Tracks:

Sonata No 5 In A Flat Major, Op. 26: I. Andante con variazioni
Sonata No 5 In A Flat Major, Op. 26: II. Scherzo
Sonata No 5 In A Flat Major, Op. 26: III. Marcia funebre
Sonata No 5 In A Flat Major, Op. 26: IV. Allegro
Sonata No 14 In C Sharp Minor, Op 27 No 2 'Moonlight': I. Adagio sostenuto
Sonata No 14 In C Sharp Minor, Op 27 No 2 'Moonlight': II. Allegretto
Sonata No 14 In C Sharp Minor, Op 27 No 2 'Moonlight': III. Presto
Sonata No 31 In A Flat Major, Op 110: I. Moderato cantabile molto espressivo
Sonata No 31 In A Flat Major, Op 110: II. Allegro molto
Sonata No 31 In A Flat Major, Op 110: III. Adagio, ma non troppo
Sonata No 31 In A Flat Major, Op 110: IV. Fuga: Allegro ma non troppo

Tracks:

Sonata No 8 In C Minor, Op 13 'Pathetique': I. Grave - Allegro molto e con brio
Sonata No 8 In C Minor, Op 13 'Pathetique': II. Adagio cantabile
Sonata No 8 In C Minor, Op 13 'Pathetique': III. Rondo: Allegro
Sonata No. 27 In E Minor, Op. 90: I. Mit Lebhaftigkeit und durchaus mit Empfinding und Ausdruck
Sonata No. 27 In E Minor, Op. 90: II. Nicht zu geschwind und sehr singbar vorgetragen
Sonata No. 32 In C Minor, Op. 111: I. Maestoso - Allegro con brio ed appassionato
Sonata No. 32 In C Minor, Op. 111: II. Arietta: Adagio molto semplice e cantabile

Amazon.com

Rather than present the sonatas in chronological order, each disc is refreshingly arranged as a mini-program that juxtaposes contrasting works. While Bernard Roberts doesn't quite command the flexible technique of Sviatoslav Richter or the individual point of view set out in cycles by Schnabel, Arrau, Kempff, or Yves Nat, those wishing a super-bargain Beethoven cycle will not be disappointed. --Jed Distler

Customer Reviews:

A good reference copy.......2006-11-10

Bernard Roberts is what I'd call a "journeyman pianist". That's not a negative, its a recognition that he's a master craftsman who can be relied on to give a good interpretation of the works without taking them over. These recordings may feel a bit 'flat' or colorless as a result but it allows you, the listener, to delve a bit deeper into the music rather than the performance. This will be especially important if you are interested in studying or performing these works. (Indispensable accessory is the score, BTW -- also available from Amazon!)

Lowest-cost complete set .......2006-02-10

If you are looking for your first COMPLETE set of Beethoven's 32 piano sonatas, you've just found the LOWEST COST set available. But is it "the best" or a good one?? Depends on a lot of course. Beethoven's Piano Sonatas are one category in classical music brimming with an abundance of quality choices - both historic and modern - and begs the obvious question, "Which set to chose?" With Kempff we have a "gentleman's Beethoven" ... with Pollini a surgical precision ... Alfred Brendel gives wonderfully conceived masterpieces ... with Goode comes some very poised playing in the classical tradition ... and with Richter, Nikolavia or Kovacavich some fire. (Kovacavich's cycle is my personal favorite). One can spend hours and hours comparing performers and recordings work-by-work and still not really have a solid feel for which one is "the best" - at least for you. And in doing so, the focus can become overly weighted on the finding the elusive "ideal" recording that one can miss the importance of just sitting down with one of the many great recordings available and revelling in the depths of Beethoven's piano music.

All things considered, Bernard Robert's complete cycle here is a solid choice - not overly "poetic" ... nor overly "Romantic" or brash. In addition to Bernard Roberts set here, a similar "super budget" set from Claude Frank was re-released on the Music & Arts label (about $59). Other sets will cost $100 and up typically. Both Frank and Roberts give simimlarly compelling, musically rich and interpretatively balanced readings. Frank's style is more lucid and refined where Roberts brings more intensity. Such complete sets as these form a solid reference point to understand and appreciate the other historic performer's interpretive artistry (as most connoisseurs have several sets eventually). At some point of one's musical journey, it becomes enlightening to listen to historic greats as Schnabel, Kempff, Arrau, Serkin, Goode, Gilels, Kovacavich ... but early on it is probably more important just to hear Beethoven-for-Beethoven and focus less on the performer. And these inexpensive sets allow that for the budget buyer.

But don't let the price or lack of popularity make you think either of these budget sets are sub-standard performances either. Bernard Roberts is well known and much admired in his native England while German-born Claude Frank's Beethoven's recordings were, according to music writer and pianist David Dubal, "highly prized." Both get good reviews (both on Amazon and music press) and both represent Beethoven faithfully and with much artistry. Where Frank's cycle is a more closely-miked sound environemnt, Robert's recordings have a more resonant ambiance. If price is the main consideration, Roberts set is unbeatable and the best way to begin the journey to explore the 32 sonatas.

A very good bargain buy for Beethoven Sonatas.......2005-12-06

Bernard Roberts may not be a name widely known in the USA, but his recordings of the Beethoven Sonatas for Nimbus dating from the mid 1980s are very good. If you are not a diehard fan of Richter, Rubinstein, Horowitz, Kempff, or Backhaus and absolutely MUST have their recordings, Roberts is worth considering. He has fine technique, but never shows off, pounds or distorts anything in the music to bring attention to himself; in short, Beethoven is served, not pianist Bernard Roberts.

I have about 80% of these recordings on separate Nimbus releases, and can only say I am very pleased with both recorded sound and playing. Of course with complete sets of Beethoven Piano Sonatas, there are always some performances superceded by individual ones of other pianists, but these should please most anyone who doesn't require a recording of one of the above listed pianists.

Budget price + fine recorded sound + great playing = a successful recording set which I am pleased to recommend.

YOu get what you pay for...and in this case,,,a pinch more........2005-12-01

I bought this set when i was younger, less knowledgeable about the individual qualities an individual may bring to a performance. I thought, hey, they all play the same notes, right. So to get all Beeth sonata's at such a cheap price, i thought sure.
I already had the named sonata's by Serkin, whom my father recommended as his supreme beethoven player, and to this day I still hear them the way he played them, and Roberts is no serkin.
Again, this being before i realized how much the performer mattered, i was disappointed on the whole with the sonata's, feeling that maybe the serkin disc was enough in that all the "good" named sonata's were there.
Every day i listened to one or too discs in a sitting, making sure i missed nothing.
Disappointment is what i felt.
Now that i am older, and more intelligent in the method of performing, and an accomplished performer my self, one able to provide their own mark to their own performance, one with the ability to understand what one is doing, and how to do it, i have numerous collections of this set. Schnabel was the first "historical set i bought" with much the same reaction in terms of sound as i had to the playng of the roberts set.
I now own Gilels, Barenboim, Schnabel, Richter(in most), Fischer(annie) Roberts, brendel, arrau, and kempff. and have listened to, as i did with roberts to Goode(a very decent account), and Kovavich(though i dont own them.
The top of my list is most suredly Kempff(60's), but it was not always so. as my respect for the performance grew, so did my taste for kempff. Brendel always bored me, as did Barenboim(i found myself passing out-which i never do). Fischer and Gilels are both extremes, that at first hearing are truly exciting and fresh(despiite a repeated claim about Gilels lack of soul). The Backhaus was, for me, a surprisingly excellent set and the Arrau had much going for it in the latter half. I adore richter, but his beethoven is usually hit or miss, but when its a hit it is top of the mountain. So that leads us back to Roberts. There are many things that i actually like here, such as his performance of op 10\3 final mvmt. He plays it with minimal pedal, letting the voices speak for themselves, there is only one version i enjoy more, and that, surprisingly is John o'Connor(or just connor)?-though i hate his cycle-or what i have heard. Overall, for the money, depending on how serious you are, like for instance, if you are not satisfied are you going to go out and spend more money, then i would save it the first time and go for Kempff. But if you are young, as i was, and must hear them, but dont have the money, first go to your library and see if they have an aforementioned copy and burn it, and if you want to own it for cheap, you cant do much better than this for the price. Another thing you could do is buy artur schnabel's account on naxos for 6.99 a disc, but know beforehand that the sound is variable(the recordings are from the 30's) but give it a chance and you will learn to appreciate the playing itslef and not what today's engineers have to say about the music. This ability to listen in spite of the engineers is somehing that will enable you to enjoy so much music that most will not-i.e cortot, rach, moiseiw, hofman, etc.

Great Bargain - Great Playing - So So Sound Quality.......2005-08-10

This is the only complete set of the Beethoven Sonatas that I own, and so far I have been very happy with it. First off, the price is excellent. I know for a fact that I probably NEVER would have purchased my first complete set if I had to pay close to $100 for it! This is a great way to get introduced to the complete set.

I've heard a few sonatas on other CDs by other players, but for the most part, this is the only version I've heard of most of these sonatas, so I can't really compare them to other players. However, as a music collector and pianist, I can recognize good piano playing when I hear it, even without another version for comparison. Robert's playing is clean and accurate and stylistically very appropriate. Every phrase and passage is well thought out and shaped, enhancing the music without distracting from it.

The only complaint that I would have is that sometimes the sound has a little too much reverb for my tastes, which can affect the clarity of some passage (particularly those written in the lower range of the keyboard).

As others have said, this is a great starter set for anyone wanting to get all the sonatas at a great price. My advice would be to get this nicely priced set, then if there are certain sonatas you really love and want other versions, perhaps buy only those. While all the sonatas are well written, I don't love them all enough to warrant purchasing multiple versions. However, this set has allowed me to find those sonatas which really speak to me, so that I can then pursue those further without having to pay an arm and a leg buying all 32 over again. Enjoy!

Average customer rating:

Brendel's Third Complete Beethoven Cycle
Pianist Envy
It can hardly get any better than this!
Unmusical
A Master At Work

Beethoven: Complete Piano Sonatas
Alfred Brendel
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Beethoven: Bagatelles
Liszt: Piano Works
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Beethoven: The Piano Trios

ASIN: B0000041DZ
Release Date: 1996-11-19

Tracks:

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

Tracks:

Piano Sonata No. 21 In C, Op. 53 'Waldstein': Allegro con brio
Piano Sonata No. 21 In C, Op. 53 'Waldstein': Introduzione: Adagio molto
Piano Sonata No. 21 In C, Op. 53 'Waldstein': Rondo: Allegretto moderato - Prestissimo
Piano Sonata No. 22 In F, Op. 53: In tempo d'un Menuetto
Piano Sonata No. 22 In F, Op. 53: Allegretto
Piano Sonata No. 28 In A, Op. 101: Etwas lebhaft und mit der innigsten Empfindung (Allegretto ma non troppo)
Piano Sonata No. 28 In A, Op. 101: Lebhaft, marschmabig (Vivace alla marcia)
Piano Sonata No. 28 In A, Op. 101: Langsam und sehnsuchtsvoll (Adagio ma non troppo, con affetto)
Piano Sonata No. 28 In A, Op. 101: Geschwind, doch nicht zu sehr, und mit Entschlossenheit (Allegro)
Andante In F, Wo057 (Andante favori): Andante In F, WoO 57 (Andante favori)

Tracks:

Piano Sonata No. 12 In A Flat, Op. 26: Andante con variazioni
Piano Sonata No. 12 In A Flat, Op. 26: Scherzo: Allegro molto
Piano Sonata No. 12 In A Flat, Op. 26: Marcia funebre sulla morte d'un eroe
Piano Sonata No. 12 In A Flat, Op. 26: Allegro
Piano Sonata No. 13 In E Flat, Op. 27 No. 1(Sonata quasi una fantasia): Andante - Allegro - Tempo I
Piano Sonata No. 13 In E Flat, Op. 27 No. 1(Sonata quasi una fantasia): Allegro molte e vivace
Piano Sonata No. 13 In E Flat, Op. 27 No. 1(Sonata quasi una fantasia): Adagio con espressione
Piano Sonata No. 13 In E Flat, Op. 27 No. 1(Sonata quasi una fantasia): Allegro vivace - Tempo I - Presto
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight' (Sonata quasi una fantasia): Adagio sostenuto
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight' (Sonata quasi una fantasia): Allegretto
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight' (Sonata quasi una fantasia): Presto
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: Andante
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: Rondo: Allegro

Tracks:

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

Tracks:

Piano Sonata No. 8 In C Minor, Op. 13 'Pathetique': Grave - Allegro di molto e con brio
Piano Sonata No. 8 In C Minor, Op. 13 'Pathetique': Adagio cantabile
Piano Sonata No. 8 In C Minor, Op. 13 'Pathetique': Rondo: Allegro
Piano Sonata No. 9 In E, Op. 14 No. 1: Allegro
Piano Sonata No. 9 In E, Op. 14 No. 1: Allegretto
Piano Sonata No. 9 In E, Op. 14 No. 1: Rondo: Allegro comodo
Piano Sonata No. 10 In G, Op. 14 No. 2: Allegro
Piano Sonata No. 10 In G, Op. 14 No. 2: Andante
Piano Sonata No. 10 In G, Op. 14 No. 2: Scherzo: Allegro assai
Allegro con brio
Piano Sonata No. 11 In B Flat, Op. 22: Adagio con molta espressione
Piano Sonata No. 11 In B Flat, Op. 22: Minuetto
Piano Sonata No. 11 In B Flat, Op. 22: Rondo: Allegretto

Tracks:

Piano Sonata No. 25 In G, Op. 79: Presto alla tedesca
Piano Sonata No. 25 In G, Op. 79: Andante
Piano Sonata No. 25 In G, Op. 79: Vivace
Piano Sonata No. 24 In F Sharp, Op. 78: Adagio cantabile - Allegro ma non troppo
Piano Sonata No. 24 In F Sharp, Op. 78: Allegro vivace
Piano Sonata No. 27 In E Minor, Op. 90: Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Piano Sonata No. 27 In E Minor, Op. 90: Nicht zu geschwind und sehr singbar vorgetragen
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': Allegro assai
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': Andante con moto
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': Allegro ma non troppo

Tracks:

Piano Sonata No. 4 In E Flat, Op. 7: Allegro molto e con brio
Piano Sonata No. 4 In E Flat, Op. 7: Largo, con gran espressione
Piano Sonata No. 4 In E Flat, Op. 7: Allegro
Piano Sonata No. 4 In E Flat, Op. 7: Rondo: Poco allegretto e grazioso
Piano Sonata No. 15 In D, Op. 28 'Pastoral': Allegro
Piano Sonata No. 15 In D, Op. 28 'Pastoral': Andante
Piano Sonata No. 15 In D, Op. 28 'Pastoral': Scherzo: Allegro assai
Piano Sonata No. 15 In D, Op. 28 'Pastoral': Rondo: Allegro ma non troppo
Piano Sonata No. 20 In G, Op. 49 No. 2: Allegro ma non troppo
Piano Sonata No. 20 In G, Op. 49 No. 2: Tempo di menuetto

Tracks:

Piano Sonata No. 29 In B Flat, Op. 106 'Hammerklavier': Allegro
Piano Sonata No. 29 In B Flat, Op. 106 'Hammerklavier': Scherzo: Assai vivace
Piano Sonata No. 29 In B Flat, Op. 106 'Hammerklavier': Adagio sostenuto: Appassionato e con molto sentimento
Piano Sonata No. 29 In B Flat, Op. 106 'Hammerklavier': Largo - Allegro risoluto
Piano Sonata No. 26 In E Flat, Op. 81a 'Les adieux': Adagio - Allegro
Piano Sonata No. 26 In E Flat, Op. 81a 'Les adieux': Andante espressivo
Piano Sonata No. 26 In E Flat, Op. 81a 'Les adieux': Vivacissimamente

Tracks:

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

Tracks:

Piano Sonata No. 30 In E, Op. 109: Vivace, ma non troppo - Adagio espressivo - Tempo I
Piano Sonata No. 30 In E, Op. 109: Prestissimo
Piano Sonata No. 30 In E, Op. 109: Gesangvoll, mit innigster Empfindung
Piano Sonata No. 31 In A Flat, Op. 110: Moderato cantabile molto espressivo
Piano Sonata No. 31 In A Flat, Op. 110: Allegro molto
Piano Sonata No. 31 In A Flat, Op. 110: Adagio ma non troppo - Arioso dolente
Piano Sonata No. 31 In A Flat, Op. 110: Fuga: Allegro ma non troppo - L'istesso tempo di Arioso - L'inversione della Fuga
Piano Sonata No. 32 In C Minor ,Op. 111: Maestoso - Allegro con brio ed appassionato
Piano Sonata No. 32 In C Minor ,Op. 111: Arietta: Adagio molto semplice e cantabile

Customer Reviews:

Brendel's Third Complete Beethoven Cycle.......2006-05-05

There can be no serious doubt that these are among the distinguished performances by any musician on disk. Brendel recorded this cycle early in his career for Vox, then once again for Philips in the 80's; this last cycle, very likely the last he will ever record, exhibits Brendel, a magisterial musician, at the zenith of his genius. Comparisons with other great cycles, while inevitable, do little to point up the particular maturities of these readings. There are, of course, many ways of doing these sonatas. Schnabel is electrifying if a bit rushed on occasion, and often somewhat approximate in his fingerwork. Richard Goode has, perhaps, more rhythmic urgency, flexibility, and (where appropriate, particularly in the opus 2 sonatas) wit. Brendel's forte is in the elegant intellectual clarity of his playing, the sonic beauty, and a respect for the music that communicates itself instantly in the attention he gives to voicing, balance within a chord, to the shaping of phrase, and (most impressively perhaps) to the overall architecture of a movement. The clarity of his playing is nearly unexampled even among the very greatest Beethoven pianists (Backhaus, Arrau, Solomon, Ashekenazy). Goode alone among contemporary pianists gives as much attention to clarity (if not beauty) of tone, separation of voices, lucidity, intellectual and emotional meaning. The more intelligent the listener, the less apt he or she is to seek to stand above and evaluate these radiantly beautiful performances, and more apt, by concentrated listening, to absorb their beauty and learn from them.

Pianist Envy.......2006-04-04

You have to have the Beethoven piano sonatas in your collection. You really do. Beethoven's nine symphonies get the attention, and deservedly so, for radically changing music forever, for elevating musical expression beyond the constraints of the Classical style. Onward. Upward. Beethoven created the first truly transcendent music, radical new harmonies and forms, music where emotional expression takes primacy over form.

But if the symphonies were the extravagant public face of this transformation, the 32 piano sonatas, standing as a single body of work, are the private, personal works that demonstrate Beethoven's development and foreshadow the radical and sublime innovations in form and harmonic structure that would be devoured by generations of aficionados of the symphonies.

So the question isn't whether or not to include the Beethoven piano sonatas in your collection, but rather which collection. I'll give my five stars the Brendel.

If you are listening to a musical performance for the purposes of enjoying a virtuostic performance, you want the musician to feel free to interpret, to snub the composer's purpose and motivation in the name of passion and talent. That's precisely what you want if you are listening to Liszt's Waltzes or Rachmaninoff's Preludes for example. No disrespect. (I love Liszt's Waltzes but find I can't quite dance to them) But if you are listening to music to appreciate brilliant composition, then you want someone more faithful than ostentatious. That's certainly what you want in your complete collection of Beethoven's piano sonatas. (Why? Because Beethoven was a master composer, greater than any before or after by several orders of magnitude. We've been through this before.)

That's what you get with Brendel. I saw him perform a Mozart piano concerto with the Boston Symphony Orchestra, where he wrote his own cadenzas. He didn't bounce around and make funny ecstatic faces, he didn't squint and gaze off into the heavens as if receiving the music from above. He just played and played well. He wasn't a statue, he was moving around and enjoying himself but not in a showy way, just in service of the music. His personal touches were subtle. He wasn't a ham until the very end, when he came out again and again for more applause and hammed it up for an encore of his cadenzas.

You don't have to thank me. Just enjoy, then turn on somebody else.

It can hardly get any better than this!.......2006-02-05

Ludwig Van's piano sonatas are one of the best piano works collections that a classical music buff might be able to find around. I recently bought it and I have to say I am more than happy with it. And I really mean HAPPY. And Brendel's interpretation is one of the reasons why.

As a person, as well as a pianist, Alfred Brendel is not a showboater, a pyrotechnician or even a virtuoso in the conventional sense of the word, and he has never been. Widely noted for never having played Chopin's music, but one of the few very best when it comes to the piano works of Beethoven and Mozart, Brendel's genius as a pianist resides in the subtle alchemy of a perfectly weighted octave or a rest stretched an extra microsecond or two, more than any other technicality. Whether he plays Beethoven's piano sonatas, his five piano concertos, or other magnificent piano works by Mozart, Haydn or Schubert, Brendel's performances are less interpretations than true conspiracies with the composer himself. Some find his style flat and unsatisfactory. I find it brilliant.

Unmusical.......2005-11-14

I cannot stand these latter-day recordings of Beethoven's "32" by Brendel. I'll tell you why. The performances lack music.

Yes, aural notes fill these 10 CDs. But I find almost no music on any of them.

Let me break down this remarkable statment to explain what I mean.

1. Spirit.

A musical performance exhibits power. It consists of the expression of overabundant energy, vigor, force. In short, it is spirited. I don't mean simply loud or fast. Instead, I mean music makes one sit up and listen: an expression of important ideas and/or passions must necessarily have a forcefulness that comports with the purposefulness inherent in them. One must feel that one is GOING SOMEWHERE.

Brendel sounds bored with it all. Listen to (most of) the recordings here. More unpassionate, spiritually flaccid, "out of gas" playing would be hard to find among major pianists who know what they're doing (as Brendel does). For example: op. 110 is played without emphasis. It is merely wimpy piano sounds. No, this isn't "delicacy" and "exquisiteness." Someone coming to this music for the first time through these recordings would have no idea that it is important music.

Where is the tragedy, the point? As Victor Hugo once said, "One used to say: power and fertility. Today, one says: a cup of herbal tea."

2. Phrasing.

How does a musician show spirit? Aside from vigor in the playing, he does it through phrasing. Phrases should add up to a point. They don't exist just because the composer wrote them. Behind the squiggles and dots lies an intention: MUSIC.

A good musician puts together or integrates the notes etc. to say something, to embody a meaning.

Here, though, there is no "vulgar point-making." Instead, one feels as if one is studying the score, not listening to music.

Note that Pollini, too, delivers virtually note-perfect performances of the same music. Yet, in his case the sounds thus produced succeed in signifying something beyond themselves.

One almost gets the impression that Brendel is botching it deliberately (perversely). Every alienation device is used: wooden phrasing (and wooden sounds), ill-understood numerous agogic hesitations, expertly but indifferently applied volume control - all in a largely successful attempt to prevent 2 and 2 from becoming 4.

If this is "simply what Beethoven wrote," Beethoven was wrong.

3. Melody.

Wilhelm Kempff was no super-virtuoso but he exhibited spirit through purposeful phrasing; in other words, through melody. Result: lyrical performances that were something emotional and spiritual.

But with his deficits in forcefulness and phrasing, it is difficult for Brendel to be melodic.

There are some decent moments on these discs and the recorded sound is very good. The first movement of the Waldstein (for example) is musical and is an aural treat to boot. Nothing is wrong with Brendel's hands: this is top-of-the-line playing with many levels. No, it is not a matter of physical incapacity (Brendel complains about his age but his technique is as good as Perahia's). It is a matter of boredom. I think he's sick of this music, as music. Yes, it still amuses him as an intellectual-antiquarian challenge or pursuit. But he surely doesn't make me feel anything.

If you want a Brendel with music, get his 1970s recordings. Not perfect, but better than this.

A Master At Work.......2005-10-20

Brendel is pretty much one of the most reputed performers of Beethoven along with Rubinstein, Van Cliburn, Horowitz, and Perrhia. Some reviewers have recommended Ashkenazy but I personally find him to to be the most overrated piano virtuoso whose performances are barely worthy of a 4 on the Amazon scale. Usually dry and out of synch with the meter, his performances for Beethoven are not to my pallet. In terms of the best performer of anything for the Romantic period on piano it is unquestionably Rubinstein but I don't believe he performed all of the sonatas and there is no boxed set. This box set is a complete set of Beethoven's piano sonatas at somewhat of a steep but common price with one of the few best performances of Beethoven's piano sonatas. I found Brendel's performance just fine particularly in playing out the ranges in tonality prevalent in these pieces. His interpretation of the meter gives his performance the right pace compared to Ashkenazy who doesn't seem to know whether he should slow down, remain in place, or speed up his interpretations. Overall it is a set of exemplary performances. I am happy to have purchased this set and I don't regret it one bit. Brendel is a specialist in Beethoven and I have found few who match his talent for his works: Ashkenazy is certainly not one of them in my book.

Average customer rating:

Nice Set...not a great performance
Much unknown music to assimilate
the greatest penny a note composer
The best complete set of Haydn Sonatas at any price
Excellent performances of rarely heard works

Haydn: The Complete Piano Sonatas

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041KC
Release Date: 1997-06-24

Tracks:

Piano Sonata No. 1 In G Major (Hob.XVI:8): I Allegro
Piano Sonata No. 1 In G Major (Hob.XVI:8): II Menuet
Piano Sonata No. 1 In G Major (Hob.XVI:8): III Andante
Piano Sonata No. 1 In G Major (Hob.XVI:8): IV Finale: Allegro
Piano Sonata No. 2 In C Major (Hob.XVI:7): I Allegro moderato
Piano Sonata No. 2 In C Major (Hob.XVI:7): II Menuet
Piano Sonata No. 2 In C Major (Hob.XVI:7): III Finale: Allegro
Piano Sonata No. 3 In F Major (Hob.XVI:9): I Allegro
Piano Sonata No. 3 In F Major (Hob.XVI:9): II Menuet And Trio
Piano Sonata No. 3 In F Major (Hob.XVI:9): III Scherzo: Allegro
Piano Sonata No. 4 IN G Major (Hob.XVI: G1): I Allegro
Piano Sonata No. 4 IN G Major (Hob.XVI: G1): II Menuetto
Piano Sonata No. 4 IN G Major (Hob.XVI: G1): III Finale: Presto
Piano Sonata No. 5 In G Major (Hob.XVI:11): I Presto
Piano Sonata No. 5 In G Major (Hob.XVI:11): II Andante
Piano Sonata No. 5 In G Major (Hob.XVI:11): III Menuet And Trio
Piano Sonata No. 6 In C Major (Hob.XVI:10): I Moderato
Piano Sonata No. 6 In C Major (Hob.XVI:10): II Menuet And Trio
Piano Sonata No. 6 In C Major (Hob.XVI:10): III Finale: Presto
Piano Sonata No. 7 In D Major (Hob.XVII:D1): I Moderato (Tema con variazioni)
Piano Sonata No. 7 In D Major (Hob.XVII:D1): II Menuet
Piano Sonata No. 7 In D Major (Hob.XVII:D1): III Finale: Allegro
Piano Sonata No. 8 In A Major (Hob.XVI:5): I Allegro
Piano Sonata No. 8 In A Major (Hob.XVI:5): II Menuet And Trio
Piano Sonata No. 8 In A Major (Hob.XVI:5): III Finale: Presto
Piano Sonata No. 9 In D Major (Hob.XVI:4): I Moderato
Piano Sonata No. 9 In D Major (Hob.XVI:4): II Menuet And Trio
5 Variations In D Major

Tracks:

Piano Sonata No. 10 In C Major (Hob.XVI:1): I Allegro
Piano Sonata No. 10 In C Major (Hob.XVI:1): II Adagio
Piano Sonata No. 10 In C Major (Hob.XVI:1): III Menuet And Trio
Piano Sonata No. 11 In B Flat Major (Hob.XVI:2): I Moderato
Piano Sonata No. 11 In B Flat Major (Hob.XVI:2): II Largo
Piano Sonata No. 11 In B Flat Major (Hob.XVI:2): III Menuet And Trio
Piano Sonata No. 12 In A Major (Hob.XVI:12): I Andante
Piano Sonata No. 12 In A Major (Hob.XVI:12): II Menuet And Trio
Piano Sonata No. 12 In A Major (Hob.XVI:12): III Finale: Allegro molto
Piano Sonata No. 13 In G Major (Hob.XVI:6): I Allegro
Piano Sonata No. 13 In G Major (Hob.XVI:6): II Menuet And Trio
Piano Sonata No. 13 In G Major (Hob.XVI:6): III Adagio
Piano Sonata No. 13 In G Major (Hob.XVI:6): IV Finale
Piano Sonata No. 14 In C Major (Hob.XVI:3): I Allegretto
Piano Sonata No. 14 In C Major (Hob.XVI:3): II Andante
Piano Sonata No. 14 In C Major (Hob.XVI:3): III Finale: Presto
Piano Sonata No. 15 In E Major (Hob.XVI:13): I Moderato
Piano Sonata No. 15 In E Major (Hob.XVI:13): II Menuet And Trio
Piano Sonata No. 15 In E Major (Hob.XVI:13): III Finale: Presto

Tracks:

Piano Sonata No. 16 In D Major (Hob.XVI:14): I Moderato
Piano Sonata No. 16 In D Major (Hob.XVI:14): II Menuet And Trio
Piano Sonata No. 16 In D Major (Hob.XVI:14): III Finale: Allegro
Piano Sonata No. 17 In E Flat Major (Hob. deest): I Moderato
Piano Sonata No. 17 In E Flat Major (Hob. deest): II Andante
Piano Sonata No. 17 In E Flat Major (Hob. deest): III Menuetto And Trio
Piano Sonata No. 18 In E Flat Major (Hob. deest): I Allegro moderato
Piano Sonata No. 18 In E Flat Major (Hob. deest): II Menuetto And Trio
Piano Sonata No. 19 In E Minor, Major (Hob. deest): I Adagio
Piano Sonata No. 19 In E Minor, Major (Hob. deest): II Allegro
Piano Sonata No. 19 In E Minor, Major (Hob. deest): III Finale: Tempo di minuetto
Piano Sonata No. 20 In B Flat Major (Hob.XVI:18): I Allegro moderato
Piano Sonata No. 19 In E Minor, Major (Hob. deest): II Moderato
Piano Sonata No. 28 In D Major (Hob.XIV:5): I Moderato
Piano Sonata No. 28 In D Major (Hob.XIV:5): II Menuet And Trio
Piano Sonata In E Flat Major (Hob.XVI:16): I Andante
Piano Sonata In E Flat Major (Hob.XVI:16): II Menuet And Trio
Piano Sonata In E Flat Major (Hob.XVI:16): III Finale: Presto

Tracks:

Piano Sonata No. 29 In E Flat Major (Hob.XVI:45): I Moderato
Piano Sonata No. 29 In E Flat Major (Hob.XVI:45): II Andante
Piano Sonata No. 29 In E Flat Major (Hob.XVI:45): III Finale: Allegro di molto
Piano Sonata No. 30 In D Major (Hob.XVI:19): I Moderato
Piano Sonata No. 30 In D Major (Hob.XVI:19): II Andante
Piano Sonata No. 30 In D Major (Hob.XVI:19): III Final: Allegro assai
Piano Sonata No. 31 In A Flat Major (Hob.XVI:46): I Allegro moderato
Piano Sonata No. 31 In A Flat Major (Hob.XVI:46): II Adagio
Piano Sonata No. 31 In A Flat Major (Hob.XVI:46): III Finale: Presto
Piano Sonata No. 32 In G Minor (Hob.XVI:44): I Moderato
Piano Sonata No. 32 In G Minor (Hob.XVI:44): II Allegretto

Tracks:

Piano Sonata No. 33 In C Minor (Hob.XVI:20): I Moderato
Piano Sonata No. 33 In C Minor (Hob.XVI:20): II Andante con moto
Piano Sonata No. 33 In C Minor (Hob.XVI:20): III Finale: Allegro
Piano Sonata No. 34 In D Major (Hob.XVI:33): I Allegro
Piano Sonata No. 34 In D Major (Hob.XVI:33): II Adagio: Tempo di minuetto
Piano Sonata No. 35 In A Flat Major (Hob.XVI:43): I Moderato
Piano Sonata No. 35 In A Flat Major (Hob.XVI:43): II Menuetto
Piano Sonata No. 35 In A Flat Major (Hob.XVI:43): III Rondo: Presto
Piano Sonata No. 36 In C Major (Hob.XVI:21): I Allegro
Piano Sonata No. 36 In C Major (Hob.XVI:21): II Adagio
Piano Sonata No. 36 In C Major (Hob.XVI:21): III Finale: Presto

Tracks:

Piano Sonata No. 37 In E Major (Hob.XVI:22): I Allegro moderato
Piano Sonata No. 37 In E Major (Hob.XVI:22): II Andante
Piano Sonata No. 37 In E Major (Hob.XVI:22): III Finale: Tempo di minuetto
Piano Sonata No. 38 In F Major (Hob.XVI:23): I Moderato
Piano Sonata No. 38 In F Major (Hob.XVI:23): II Adagio
Piano Sonata No. 38 In F Major (Hob.XVI:23): III Finale: Presto
Piano Sonata No. 39 In D Major (Hob.XVI:24): I Allegro
Piano Sonata No. 39 In D Major (Hob.XVI:24): II Adagio
Piano Sonata No. 39 In D Major (Hob.XVI:24): III Finale: Presto
Piano Sonata No. 40 In E Flat Major (Hob.XVI:25): I Moderato
Piano Sonata No. 40 In E Flat Major (Hob.XVI:25): II Tempo di minuetto
Piano Sonata No. 41 In A Major (Hob.XVI:26): I Allegro moderato
Piano Sonata No. 41 In A Major (Hob.XVI:26): II Menuet al rovescio
Piano Sonata No. 41 In A Major (Hob.XVI:26): III Finale: Presto
Piano Sonata In B Flat Major (Hob.XIV:17): I Allegro
Piano Sonata In B Flat Major (Hob.XIV:17): II Andante
Piano Sonata In B Flat Major (Hob.XIV:17): III Finale: Allegro

Tracks:

Piano Sonata No. 42 In G Major (Hob.XVI:27): I Allegro con brio
Piano Sonata No. 42 In G Major (Hob.XVI:27): II Menuet
Piano Sonata No. 42 In G Major (Hob.XVI:27): III Finale: Presto
Piano Sonata No. 43 In E Flat Major (Hob.XVI:28): I Allegro moderato
Piano Sonata No. 43 In E Flat Major (Hob.XVI:28): II Menuet And Trio
Piano Sonata No. 43 In E Flat Major (Hob.XVI:28): III Finale: Presto
Piano Sonata No. 44 In F Major (Hob.XVI:29): I Moderato
Piano Sonata No. 44 In F Major (Hob.XVI:29): II Adagio
Piano Sonata No. 44 In F Major (Hob.XVI:29): III Tempo di minuetto
Piano Sonata No. 45 In A Major (Hob.XVI:30): I Allegro - Adagio
Piano Sonata No. 45 In A Major (Hob.XVI:30): II Tempo di minuetto
Piano Sonata No. 46 In E Major (Hob.XVI:31): I Moderato
Piano Sonata No. 46 In E Major (Hob.XVI:31): II Allegretto
Piano Sonata No. 46 In E Major (Hob.XVI:31): III Finale: Presto
7 Minuets From 'Kleine Tanze fur die Jugend' (Hov. IX:8: Allegretto giocoso (I) - Allegretto risoluto (II) - Allegretto (V) - Allegro vivace (IX) - Moderato (XI) - Allegro vivace (X) - Allegro giocoso (VII)

Tracks:

Piano Sonata No. 47 In B Minor (Hob.XVI:32): I Allegro moderato
Piano Sonata No. 47 In B Minor (Hob.XVI:32): II Menuet
Piano Sonata No. 47 In B Minor (Hob.XVI:32): III Finale: Presto
Piano Sonata No. 48 In C Major (Hob.XVI:35): I Allegro con brio
Piano Sonata No. 48 In C Major (Hob.XVI:35): II Adagio
Piano Sonata No. 48 In C Major (Hob.XVI:35): III Finale: Allegro
Piano Sonata No. 49 In C Sharp Minor (Hob.XVI:36): I Moderato
Piano Sonata No. 49 In C Sharp Minor (Hob.XVI:36): II Scherzo: Allegro con brio
Piano Sonata No. 49 In C Sharp Minor (Hob.XVI:36): III Menuet And Trio: Moderato
Piano Sonata No. 50 In D Major (Hob.XVI:37): I Allegro con brio
Piano Sonata No. 50 In D Major (Hob.XVI:37): II Largo e sostenuto
Piano Sonata No. 50 In D Major (Hob.XVI:37): III Finale: Presto, ma non troppo
Piano Sonata No. 51 In E Flat Major (Hob.XVI:38): I Allegro moderato
Piano Sonata No. 51 In E Flat Major (Hob.XVI:38): II Adagio
Piano Sonata No. 51 In E Flat Major (Hob.XVI:38): III Finale: Allegro

Tracks:

Piano Sonata No. 52 In G Major (Hob.XVI:39): I Allegro con brio
Piano Sonata No. 52 In G Major (Hob.XVI:39): II Adagio
Piano Sonata No. 52 In G Major (Hob.XVI:39): III Finale: Prestissimo
Piano Sonata No. 53 In E Minor (Hob.XVI:34): I Presto
Piano Sonata No. 53 In E Minor (Hob.XVI:34): II Adagio
Piano Sonata No. 53 In E Minor (Hob.XVI:34): III Finale: Vivace molto
Piano Sonata No. 54 In G Major (Hob.XVI:40): I Allgretto innocente
Piano Sonata No. 54 In G Major (Hob.XVI:40): II Presto
Piano Sonata No. 55 In B Flat Major (Hob.XVI:41): I Allegro
Piano Sonata No. 55 In B Flat Major (Hob.XVI:41): II Allegro di molto
Piano Sonata No. 56 In D Major (Hob.XVI:42): I Andante con espressione
Piano Sonata No. 56 In D Major (Hob.XVI:42): II Finale: Vivace assai

Tracks:

Piano Sonata No. 57 In F Major (Hob.XVI:47): I Moderato
Piano Sonata No. 57 In F Major (Hob.XVI:47): II Larghetto
Piano Sonata No. 57 In F Major (Hob.XVI:47): III Finale: Allegro
Piano Sonata No. 58 In C Major (Hob.XVI:48): I Andante con espressione
Piano Sonata No. 58 In C Major (Hob.XVI:48): II Rondo: Presto
Piano Sonata No. 59 In E Flat Major (Hob.XVI:49): I Allegro
Piano Sonata No. 59 In E Flat Major (Hob.XVI:49): II Adagio e cantabile
Piano Sonata No. 59 In E Flat Major (Hob.XVI:49): III Finale: Tempo di minuetto
Piano Sonata No. 60 In C Major (Hob.XVI:50): I Allegro
Piano Sonata No. 60 In C Major (Hob.XVI:50): II Adagio
Piano Sonata No. 60 In C Major (Hob.XVI:50): III Finale: Allegro molto
Piano Sonata No. 61 In D Major (Hob.XVI:51): I Andante
Piano Sonata No. 61 In D Major (Hob.XVI:51): II Finale: Presto

Tracks:

Piano Sonata No. 62 In E Flat Major (Hob.XVI:52): I Allegro
Piano Sonata No. 62 In E Flat Major (Hob.XVI:52): II Adagio
Piano Sonata No. 62 In E Flat Major (Hob.XVI:52): III Finale: Presto
Variations In F-Minor (Hob.XVII:6)
Fantasia In C Major (Hob.XVII:4)
12 Variations In E Flat Major (Hob. XVII: 3)
Adagio In F Major (Hob.XVII:9)
6 Variations In C Major (Hob. XVII:5)

Tracks:

20 Variations In A Major (Hob.XVII:2)
Capriccio In G Major On The Song 'Acht Sauschneider
The Seven Last Words Of The Redeemer On The Cross: I L'Introduzione: Maestoso et adagio
The Seven Last Words Of The Redeemer On The Cross: II Sonata I: Largo
The Seven Last Words Of The Redeemer On The Cross: III Sonata II: Grave e cantabile
The Seven Last Words Of The Redeemer On The Cross: IV Sonata III: Grave
The Seven Last Words Of The Redeemer On The Cross: V Sonata IV: Largo
The Seven Last Words Of The Redeemer On The Cross: VI SonataV: Adagio
The Seven Last Words Of The Redeemer On The Cross: VII Sonata VI: Lento
The Seven Last Words Of The Redeemer On The Cross: VIII Sonata VII: Largo -- attacca subito - II Terremoto (Presto)

Amazon.com

Haydn was not a pianist of any distinction, nor a very successful composer of instrumental concertos, but his piano sonatas--and there are more than 60 of them--are much finer than those of Mozart, who was one of his era's greatest keyboard virtuosos. The reason for this is simple. Mozart wrote his keyboard concertos for himself and his sonatas for students. Haydn, on the other hand, was constantly stimulated to write piano music for gifted amateurs, though in those days amateurs were often as good as the professionals, particularly women for whom a concert career was out of the question. This is great music then, charming but never trivial, and John McCabe plays it with impressive style and vigor. --David Hurwitz

Customer Reviews:

Nice Set...not a great performance.......2005-05-08

As a pianist myself, I was very interested to listen to Mr. McCabe when preparing my M.M. degree recital, in which I performed Haydn's Sonata in E minor, Hob:XVI/34 (I will refer to the sonata by the Landon number rather than the older Hoboken number).

Mr. McCabe certainly plays quite cleanly, as one would expect in this day and age. In addition, he provides extensive program notes (Mr. McCabe is a respected musicologist)

Unfortunately, Mr. McCabe isn't quite the performer one would expect to produce the entire output of Haydn's Sonatas. First of all, his tempos are usually not well suited to the music's style (whether in the Allegros or Adagios). Though this has somewhat to due with his lesser technical ability, it also has to do with his idea of interpretation, which to say the least, is quite boring. In the Sonata No. 34, the opening movement has a very particular character. Though it is one of Haydn's few sonatas in a minor key, the opening motive returns in many forms throughout the first movement. Mr. McCabe seems to miss the point of this, along with the importance of articulation (which is of utmost importance in the music of Haydn).

Mr. McCabe uses far too much pedal throughout (especially in the first movement). In the second movement, his imprecise pedaling detracts from the recitative quality (this movement being influenced from Haydn's knowledge of vocal writing and operatic traditions). The third movement is quite slow and the lively character is missing.

I don't believe that one can put Mr. McCabe's recordings on a level with great Haydn interpreters such as Ax or even Richter (with far more color and more adherence to the musical style). This is unfortunate as it comes from such a respected musicologist.

As a final note, it is nice to own this collection to have all Haydn's Sonatas and his output for piano at your fingertips, but I would recommend Ax (or Andsnes in the future...his Haydn Concertos are fantastic).

Much unknown music to assimilate.......2005-04-19

I can partially share one reviewer's opinion that much of this music seems repetitive and certainly that is somewhat the case, but I only listen to one disc at a sitting. It takes time to get to know these sonatas. The Mozart sonatas are more widely performed, and therefore known to the music listening public. At this point in my experience, I must admit that I prefer the Mozart sonatas, but I am gaining an appreciation for those of Haydn.

The quality of the recording is good with very little background noise or noticeable distortion. The piano seem OK for the type of music and if one reviewer thinks these are twangy, listen to these sonatas on an eighteenth century pianoforte.

Mr. McCabe is a competent player without any idiosyncracies which seems in keeping with these sonatas.

I received a boxed set that had two disc sixes and no disc three. Ah, German precision.

the greatest penny a note composer.......2005-04-02

I have listened to all 62 sonatas for keyboard and perhaps 3 of them rise to the level of wonderful composition. If you listen to them you hear he doesn't really "get started " until about sonata 32, compared with say Beethoven who except for 3 or 4 composed 32 of the greatest piano sonatas the world will ever hear. I have attempted to give Haydn a fair hearing for symphonic ( boring ) and keyboard works but for the most part he must get the award for not really being able to put 2 consecutive asthetic notes together. The Nelson Mass is very nice. And I know in his last years, Europe just adored him. He was earning upward in todays dollars of $85,000, which just galled Mozart.Finally the sonatas are performed and recorded well.Before purchasing these sonatas listen to the clips and see if you dont want to run screaming into the night, but if you are a boring person with absolutely no musical asthetic, these sonatas cant be beat!

The best complete set of Haydn Sonatas at any price.......2004-05-22

Other individual performances may "grab" you more than these, but as a whole I could not find fault with these performances. They are particularly satisfying if you follow with a score - you get to see the choices in ornamentation, dynamics, etc. that McCabe makes compared with what is on the printed page. I did several comparisons with other performers (I own 4 complete sets of these sonatas and several smaller compilations), and McCabe consistently comes out on top overall, in my opinion. Haydn's best sonatas are consistently more inventive, witty, and daring than Mozart's and are definitely worth your attention.

Excellent performances of rarely heard works.......2004-05-16

Rich & delicious entertainment. Delighted that one can enjoy this beautiful music of pieces which are rarely publicly performed.

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