Complete Cello Sonatas 1-5

On this CD:

1. Sonata for cello & piano No. 1 in F major, Op. 5/1
Composed by Ludwig van Beethoven
Performed by Artur Schnabel, Pierre Fourner

2. Sonata for cello & piano No. 2 in G minor, Op. 5/2
Composed by Ludwig van Beethoven
Performed by Artur Schnabel, Pierre Fourner

3. Sonata for cello & piano No. 3 in A major, Op. 69
Composed by Ludwig van Beethoven
Performed by Artur Schnabel, Pierre Fourner

4. Sonata for cello & piano No. 4 in C major, Op. 102/1
Composed by Ludwig van Beethoven
Performed by Artur Schnabel, Pierre Fourner

5. Sonata for cello & piano No. 5 in D major, Op. 102/2
Composed by Ludwig van Beethoven
Performed by Artur Schnabel, Pierre Fourner

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!

Casals Edition - Beethoven: Complete Cello Sonatas

Average customer rating:

Spectacular recording of spectacular music
Disappointing Sound Quality
Very touching performance.
Casals and Serkin play Beethoven for the Gods
Deeply-probing classic interpretations (but not *quite* complete)

Casals Edition - Beethoven: Complete Cello Sonatas

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Bach: Cello Suites
J. S. Bach: Suites for Cello, 4, 5 & 6; Pablo Casals Volume 2
Franz Schubert: Quintet/Symphony No.5
Great Recordings of the Century: Beethoven "Archduke" Piano Trio and Schubert Piano Trio in B flat
J. S. Bach: Suites for Cello, 1, 2 & 3; Pablo Casals

ASIN: B0000029L7
Release Date: 1994-02-22

Tracks:

I. Adagio Sostenuto - Allegro-Adagio-Presto
II. Rondo. Allegro Vivace
I. Adagio Sostenuto E Espressivo/Allegro Molto Piu Tosto Presto
II. Rondo. Allegro
I. Andante - Allegro Vivace
II. Adagio - Allegro Vivace

Tracks:

I. Allegro Ma Non Troppo
II. Scherzo. Allegro Molto
III. Adagio Cantabile - Allegro Vivace
I. Allegro Con Brio
II. Adagio Con Molto Sentimento D'affetto
III. Allegro - Allegro Fugato
7 Variations On/Uber/Sur 'Bei Mannern, Welche Liebe Fuhlen' From/Aus/De Mozart's 'Die Zauberflote'/ < > WoO.46
12 Variations On/Uber/Sur 'Ein Madchen Oder Weibchen' From/Aus/De Mozart's 'Die Zauberflote'/ < > WoO.66

Customer Reviews:

Spectacular recording of spectacular music.......2007-06-08

I didn't even know that Beethoven wrote sonatas for cello and piano until I came across this recording; both the music and the musicians are spectacularly good. Get it today!

Disappointing Sound Quality.......2007-01-09

I have heard of these sonatas for years, but had never heard them. I chose the Casals/Serkin set because of my familiarity with other performances by him. Although Casals and Serkin are unassailable as interpreters and performers, I found this set disappointing because of what I can only describe as ugly sounds - there is a harshness to the sound quality, at least in places, which I think is probably to be ascribed to the age of the recording rather than the performance. Still, I found it jarring, and it marred my enjoyment.

Very touching performance. .......2007-01-03

This album is one of the most beautiful music experiences I had in many years; I'm amateur listener but I can say that both interpreters are playing these compositions with such a passion and love that is probably not too common these days anymore. Originally I felt that the technical quality of this mono recording is bit distracting, but after a few weeks of listening this album over and over I don't mind the sound at all - the quality of music makes up for it, and I actually like the recording as it is presented to us, wouldn't want any change. I very much recommend this album. I'm planning to buy another copy as a gift for someone close.

Casals and Serkin play Beethoven for the Gods .......2006-03-29

This set is desert island gorgeous. Playing with passion, elegance, at times abandon, the performers are completely in tune with each other. This is elevated chamber music playing of an aristocratic order.

You can hear Casals grunting and moaning with pleasure through the performances - it sounds as though he's making love to his cello. Serkin's playing is simply beautiful - lucid and warm with some of the best trills I've heard - his playing in opus 60 is thrilling. Good clear sound allows you to listen unencumbered by distraction to this spectacular music-making.

The Schnabel - Fournier set of these pieces is quite wonderful, too - spunky and sparkling with Schnabel's great paced and joyous playing. The Schnabel virile luminosity is all there, partnered by Fournier's richly expressive and dignified cello. While it sounds like the historic performance it is, I rarely mind or notice. Art is what counts and the beauty of these performances shines through with radiant surrender. Who cares about a little interference - it adds to the wonder of the experience, knowing that this was recorded almost 60 years ago and we are priviliged to hear it today....

The dvd with Rostropovich and Richter playing Beethoven's cello sonatas is also splendid - Rostropovich is a marvelous musician to watch - he's in an altered state and quite uninhibited about his relationship with his instrument. Yes there are some incorrect notes played, but who cares? Rostropovich is demonically possessed at times and it's fascinating to watch his transformations and responses as he literally attacks his cello, especially in the rondo of opus 5 no. 2. Richter is a large man nearly bursting out of his tails. With his enormous hands he looks more like he could be unloading freight down at the docks, yet he plays these sonatas with such refined manners and sensitivity that it's heart rending to see this big, uncomfortable man playing such magnificent music.

Deeply-probing classic interpretations (but not *quite* complete).......2005-10-25

I was recently listening to this set and the new Schiff-Perenyi recordings on ECM for the purpose of comparing them and writing a review about my impressions. "Compare and contrast the sets, class, and write a review for Monday. Minimum of five pages, single-spaced, typed. --And don't ask your parents for help, because I can always tell."

Well, I was weird as a school kid, because I always loved assignments like that and never was inclined to ask my parents or anyone else. Not that we ever got to write about Beethoven cello sonatas--usually it was on something boring like Beowulf. So I've been comparing Serkin and Casals to Schiff-Perenyi, and, in the interest of efficiency, was going to write a review dealing with both sets and paste two copies on Amazon, one under this recording and one under the Schiff-Perenyi disc, thereby scoring two reviews with one effort. Then I discovered that apparently the ECM isn't available in America--or at least not through Amazon's American website. (It is on their UK page.) So much for my attempt at efficiency. At any rate, you can consider this a review of both recordings, and maybe I'll even mosey on over to the UK side and post this review with them.

Anyway, after listening to the two sets, it's clear the Serkin-Casals stands head and shoulders above Schiff-Perenyi. What's frustrating is trying to explain why the latter, despite immacualte playing (or maybe because of it?) is devoid of meaning, while the former, despite finger-slips and lapses of intonation (as well as more cautious tempi and less free abandon) displays a deep understanding of the works' structures and nuances. Take, for just one small example, the second movement of Op.5, No. 2: in the hands of less skilled interpreters, the waltz seems to be repetitious and too long, distended from the rest of the work. I always thought it was that way, and figured Beethoven just hadn't really mastered proportion yet.

Well, perhaps he hadn't, but Casals and Serkin make us believe he has. They find infinite variety in the theme, so that it doesn't sound redundant as it keeps returning. And I don't just mean they vary the dynamics or insert a pause here or there; they find just the proper weight for the pieces as it morphs from section to section. No one else has convinced me so much in this music, not even Heidsieck-Tortelier (a set I am very enthusiastic about nonetheless).

Some other moments are just unforgettable. Listen to the opening of Op. 102, No. 1: does anyone play music this way anymore? Pay attention to the way Serkin answers Casals in the introduction's main phrase. Then listen to the low tremolos in Serkin's left hand, with Casals the background, just before the main theme begins. It's positively heartbreaking! After a plaintive introduction like that, it seems logical to me that the main theme should have to *fight* for its very existence when it appears, and this is just how Casals and Serkin take it. (Listen to the dynamic interplay!) By contrast, Schiff-Perenyi play it relatively straight-laced, without much dynamics, and don't convince me they have anything to say; their mission seems to be just to play prettily. ("For extra credit class, contrast their handling of the last murmuring bars of the introduction with Serkin-Casals. Which one makes your hair stand up on your back?") When the latter two get to the first movement's second theme, that struggle from the terse introduction is absent, and the whole dramatic "point" of the piece is lost, to my ears. These musicians are more convincing in the facile works, such as the Op. 66 Magic Flute Variations--they're pretty, sweet-sounding, and not as deep as the triple-digit opus works.

I think the best way to put it is to say that I feel that Schiff-Perenyi have thought about the notes, and play them perfectly. They can play rings around Casals and Serkin, and generally do. But Casals and Serkin spent their study time thinking about the music, what it meant, why Beethoven started this one with a brooding introduction but not that one; how the absense of such an introduction changes the qualities of the movement's secondary theme, when the works get "dark" and when they get "light," and so on. So many of today's musicians, unfortunately, see the little squiggles on paper as technical obstacles to be hurdled; Casals and Serkin saw them as clues to divine what was inside the composer's head. And if they didn't always clear the hurdle--and sometimes they don't--so what? You understood what they meant.

I guess in the interest of full disclosure, I should mention that while the Schiff-Perenyi are in immaculate sound, the Serkin-Casals recordings were made in the early 50s and are mono. This shouldn't stop anyone from buying them, but if you must have everything in your collection writ in large DDD letters, you should look elsewhere. And it will be your loss.

My only slight complaint is the titling of the Casals and Serkin set "The Complete Edition." Not quite. Missing is the little-known sonata in F Major, Op. 17, a transcription, as well as a theme and variations on Handel's Judas Maccabaus, WoO 45. These aren't major omissions that should dissuade you from buying the set, but it's not "complete," either. But even my beloved Heidsieck-Tortelier lacks the Op 17 sonata. Only the ECM has every last scraping of Beethoven's cello music.

Okay, that's my comparative essay. Hope you give me an A.

Beethoven: Complete Sonatas for Piano & Cello

Average customer rating:

Good Alternative Beethoven Cello Set...
Great Stuff
Ma and Ax do it again!

Beethoven: Complete Sonatas for Piano & Cello

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Brahms: Sonatas for Cello and Piano
Chopin: Polonaise brilliante; Cello Sonata; Piano Trio
Beethoven: The Violin Sonatas
Elgar, Walton: Cello Concertos
Beethoven: The Complete Piano Sonatas

ASIN: B0000026GN
Release Date: 1990-10-25

Tracks:

Sonata No. 1 For Piano & Cello, Op. 5, No. 1 (F Major): I - Adagio sostenuto; Allegro
Sonata No. 1 For Piano & Cello, Op. 5, No. 1 (F Major): II - Rondo: Allegro vivace
Sonata No. 2 For Piano & Cello, Op. 5, No. 2 (G Minor): I - Adagio sostenuto ed espressivo; Allegro molto piu tosto presto
Sonata No. 2 For Piano & Cello, Op. 5, No. 2 (G Minor): II - Rondo: Allegro
Sonata No. 4 For Piano & Cello, Op. 102, No. 1 (C Major): I - Andante; Allegro vivace
Sonata No. 4 For Piano & Cello, Op. 102, No. 1 (C Major): II - Adagio; Allegro vivace

Tracks:

Sonata No. 3 For Piano & Cello, Op. 69 (A Major): I - Allegro ma non tanto
Sonata No. 3 For Piano & Cello, Op. 69 (A Major): II - Scherzo: Allegro molto
Sonata No. 3 For Piano & Cello, Op. 69 (A Major): III - Adagio cantabile; Allegro vivace
Sonata No. 5 For Piano & Cello, Op. 102, No. 2 (D Major): I - Allegro con brio
Sonata No. 5 For Piano & Cello, Op. 102, No. 2 (D Major): II - Adagio con molto sentimento d'affetto
Sonata No. 5 For Piano & Cello, Op. 102, No. 2 (D Major): III - Allegro fugato
Seven Variations On The Theme 'In Men, Who Know The Feeling Of Love' From Mozart's (From Mozart's 'The Magic Flute, For Cello And Piano, WoO 46)
Twelve Variations On The Theme 'A Maiden Or A Wife' (From Mozart's 'The Magic Flute, For Cello And Piano, Op. 66)

Amazon.com essential recording

These are among the finest modern recordings of Beethoven's Cello Sonatas. The two players are well matched, as they should be in this music, which is just as demanding for the pianist as for the cellist, if not more so. They don't try to differentiate stylistically among early, middle, and late sonatas. They play them all in a large scale, concert-hall manner, which actually suits all of them very well. Unfortunately, in reducing this recording to two CDs, the producers have dropped one set of Variations, which was recorded. What is present, though, is choice. --Leslie Gerber

Customer Reviews:

Good Alternative Beethoven Cello Set..........2005-11-16

Seems to be a lot of disagreement on this set. I have both this one and the Fournier & Kempff set. I like them both. I can say that Ma & Ax take all repeats, thusly extending the playing time of each movement anywhere from 3-5mins over the Fournier & Kempff set. I've always thought Ma a fine cellist. I rate his Bach solo cello second only to Casals, and tied with Fournier. Ax is a solid pianist, if not brilliant. Kempff is preferred with Beethoven, however.

Anyway, this is a solid set: can't go wrong. The Fournier & Kempff set, likewise.

Great Stuff.......2003-06-23

I have listened to many recordings of these sonatas and I have to admit that these are amazing!
Although I agree that Yo-Yo Ma is not the best cellist to have ever walked the earth (anyone who knows anythign about cello playing would admit this) he is certainly without doubt the best around at the moment!!! Who knows who he rates better than Ma. Du Pre?? I hope not!
People often forget that a sonata is a piece of chamber music! Ma and Ax, certainly not forgeting this play so beautifully together in this that this is a piece of chamber music that cannot be missed!
BUY IT!!!!!!!! (Whilst throwing away any recordings of du pre!)

Ma and Ax do it again!.......2000-06-13

At first I was hesitant to buy this set because of the price. But later I found out that it was well worth it. Their ability to basically control the instruments that they are playing is incredible. Most importantly is the feeling that they have put in to the Beethoven cello sonatas. I have noticed that of all the classical duos and trios that i have heard, Ma and Ax are the best. They seem to communicate well together while playing. This selection definitely receives five stars.

Beethoven: Complete Sonatas & Variations [Hybrid SACD]

Average customer rating:

Wispelwey's newest disc
Great Artistry - Fantastic Sound

Beethoven: Complete Sonatas & Variations [Hybrid SACD]

Manufacturer: Channel Classics Nl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

J.S. Bach: The Sonatas and Partitas for Violin Solo
Mendelssohn: Piano Trios Nos. 1 & 2 [Hybrid SACD]
Mozart: Piano & Violin Sonatas [Hybrid SACD]
Mozart: Flute Concertos; Rondo; Andante [Includes the Bis 2005 Catalog] [Hybrid SACD]
Beethoven Symphonies 4 & 5

ASIN: B0007Z47YI
Release Date: 2005-09-13

Tracks:

Adagio Sostenuto-
Allegro
Rondo: Allegro Vivace
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Adagio Sostenuto Ed Espressivo-
Allegro Molto Piu Tosto Presto
Rondo: Allegro
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes

Tracks:

Allegro Man Non Tanto
Scherzo: Allegro Molto
Adagio Cantabile-
Allegro Vivace
Andante-
Vivace
Adagio-
Allegro Vivace
Allegro Con Brio
Adagio Con Molto Sentimento D'Affetto
Allegro Fugato
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen

Customer Reviews:

Wispelwey's newest disc.......2006-03-22

I've really enjoyed Wispelwey's recording of the Six Suites, and consider his phrasing and musicality unparalleled. This disc breaks new ground in subtlety and sensitivity, and the quality is superb.

Great Artistry - Fantastic Sound.......2006-01-04

In the interest of continuing my SACD collection, I spend some time on Amazon buying well reviewed discs. These Beethoven Sonatas and Variations perf by Wispelwey and Lazie had no reviews, but since this was the only SACD with this repertoire, I did the blind buy. Boy, I'm glad I did.

First of all the sound!
The engineering on this one is just as good as it gets. This replaces "The Marriage of Figarro" by Jacobs as the most amazing sounding SACD in my collection, which speaks volumes. Incredible dynamics, richness, spaciousness (even though I only have a 2 channel setup - would love to hear multichannel), all audiophile accolades apply. Even the CD Redbook version sounded fantastic through my iPod. The richness and sparkle made the Pod sound strikingly deeper and richer, and just more real than any other material I have.

If you're looking for a reference SACD to amaze friends and family - look no further.

Second the Performance
The was where I had my biggest concern, given artists I wasn't familiar with and no reviews on Amazon. The performance flirts with greatness. Extremely nuanced and expressive yet driven and energetic. I can't recall ever hearing two artists mesh so perfectly together and speak so much with one voice over so much complex fare - this really amazed me. They went from driven and extroverted to hushed and soulful on a dime - and the playing in general had more of the passion and soulfulness I associate with the eras of the 50's and 60's. The technique and recording brilliance however was definitely state of the art.

The only possible negative on the performance (and not for me) is the absolutely sublime phrasing. The usual Beethoven angst isn't on display here, it's more leave you on a clould sublime ala Mozart. Of the various pieces I have other recordings of though, like with Mutter, Kahn etc, there wasn't a tremdous amount of pathos either. Probably just the nature of these more parlour like Sonatas - in which case criticism doesn't apply. And in any case I find these performances so much more compelling than those of Sophie-Ann or Kahn that I also own.

Sorry for gushing on so much, but getting such a shockingly good performance and recording on a blind buy was something I had to sound off about - especially with no other reviews on this yet. Just buy this, from my POV I can't even imagine better.

Beethoven: Complete Sonatas for Pianoforte & Violoncello

Average customer rating:

Beethoven's Wonderful Sonatas
Non-Heroic, Mature Beethoven
Gorgeous classical chamber music

Beethoven: Complete Sonatas for Pianoforte & Violoncello

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000J27X
Release Date: 1999-05-25

Tracks:

Sonata For Pianoforte And Violoncello In A Major, Op. 69: Allegro ma non tanto
Sonata For Pianoforte And Violoncello In A Major, Op. 69: Scherzo. Allergro molto
Sonata For Pianoforte And Violoncello In A Major, Op. 69: Adagio cantabile -
Sonata For Pianoforte And Violoncello In A Major, Op. 69: Allegro vivace
Sonata For Pianoforte And Violoncello In F Major, Op. 5, No. 1: Adagio sostenuto -
Sonata For Pianoforte And Violoncello In F Major, Op. 5, No. 1: Allegro
Sonata For Pianoforte And Violoncello In F Major, Op. 5, No. 1: Rondo. Allegro vivace
Sonata For Pianoforte And Violoncello In G Minor, Op. 5, No. 2: Adagio sostenuto e espressivo -
Sonata For Pianoforte And Violoncello In G Minor, Op. 5, No. 2: Allegro molto piu tosto presto
Sonata For Pianoforte And Violoncello In G Minor, Op. 5, No. 2: Rondo. Allegro

Tracks:

Sonata For Pianoforte & Violoncello In C Major, Op. 102, No.1: Andante -
Sonata For Pianoforte & Violoncello In C Major, Op. 102, No.1: Allegro vivace
Sonata For Pianoforte & Violoncello In C Major, Op. 102, No.1: Adagio - Tempo d'Andante -
Sonata For Pianoforte & Violoncello In C Major, Op. 102, No.1: Allegro vivace
Sonata For Pianoforte & Violoncello In D Major, Op. 102, No.2: Allegro con brio
Sonata For Pianoforte & Violoncello In D Major, Op. 102, No.2: Adagio con molto sentimento d'affetto -
Sonata For Pianoforte & Violoncello In D Major, Op. 102, No.2: Allegro fugato
12 Variations On 'Ein Madchen Oder Weibchen' From Mozart's Die Zauberflote For Pianoforte & Violoncello In F Major, Op. 66

Customer Reviews:

Beethoven's Wonderful Sonatas.......2003-04-19

This is a great Beethoven set. Immerseel and Bylsma do a wonderful job on Beethoven's complex but canorous melodies.

Non-Heroic, Mature Beethoven.......2001-01-08

I have been enjoying Beethoven's cello sonatas by (now historical) DuPre-Barenboim live recording, modern piano prevailing over cello. In Bylsma-Immerseel set, the balance is ideal thanks to the early 19 century fortepiano played by Immerseel. The overall atmosphere is intimate and mature. And the difficult Op. 102-2 is played with confidence, without trace of technical difficulty. Recommended to people who does not regard Beethoven as a heroic composer, but a unexpectedly 'orthodox' composer. Recording is vivid. (Only reservation: what a cover picture! Sony should be more esthetic!)

Gorgeous classical chamber music.......2000-08-09

I have not heard Bylsma's earlier recording with Malcolm Bilson- who would be my fortepianist of choice over Immerseel- but this is a great set. The playing is surprisingly romantic for two historical performance experts, but this is in no way a bad thing. While Bylsma's intonation is not always perfect, his texture and feel for the music is exemplary, and his instrument sounds fine indeed. Immerseel also creates a very warm, rich feel with his keyboard playing.

Beethoven's cello sonatas are one of those rare sets of works for which there are numerous period performances, most of which would be good choices. Also check out Chrisophe Coin with Patrick Cohen. Anthony Pleeth and Melvyn Tan have a very affordable set as well.

I don't think the balance is in favor of the piano, as many critcs have said, but rather quite equal, and the interplay between the two instruments is intricate and captivating. There is a dearth of cello works from the classical period, in my opinion, and even as this veers toward an early romantic sound, it is a most welcome addition to the canon.

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

Good but not the Best!!!

Fiery, Splendid Performances Of Beethoven's Cello Sonatas

Hat Trick

Fiery rendition of the sonatas

Complete Beethoven Edition, Vol. 8: Cello Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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

Complete Beethoven Edition, Vol. 11: Early String Quartets

Complete Beethoven Edition, Vol. 4: Fidelio/Leonore

Complete Beethoven Edition, Vol. 9: Piano Trios

Complete Beethoven Edition, Vol. 13: Late String Quartets

Complete Beethoven Edition, Vol. 7: Violin Sonatas

ASIN: B000001GZB
Release Date: 1997-11-25

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

Vivaldi: Complete Cello Sonatas /Watkin * Gough * Miller * King

Average customer rating:

Vivaldi: Complete Cello Sonatas /Watkin * Gough * Miller * King

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Vivaldi: Complete Cello Concertos
Vivaldi: Complete Flute Concertos

ASIN: B000002ZY1
Release Date: 1995-05-23

Giovanni Benedetto Platti: Flute Sonatas, Op. 3 (Complete)

Average customer rating:

PONDERING PLATTI

Giovanni Benedetto Platti: Flute Sonatas, Op. 3 (Complete)

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000001RRO
Release Date: 1993-02-19

Tracks:

Son No.1in D: Adagio
Son No.1in D: Allegro
Son No.1in D: Andantino
Son No.1in D: Tempo Di Minuet
Son No.2 in g: Grave
Son No.2 in g: Allegro
Son No.2 in g: Largo
Son No.2 in g: Allegro Molto
Son No.3 in e: Allegro Ma Non Troppo
Son No.3 in e: Larghetto
Son No.3 in e: Minuet
Son No.3 in e: Giga
Son No.4 in A: Grave E Cantabile
Son No.4 in A: Allegro
Son No.4 in A: Larghetto
Son No.4 in A: Allegro Moderato
Son No.5 in C: Pastorale, Allegro
Son No.5 in C: Non Tanto Adagio
Son No.5 in C: Allegro Assai
Son No.6 in g: Siciliano, Adagio
Son No.6 in g: Allegro
Son No.6 in g: Non Tanto Adagio Ma Cantabile
Son No.6 in g: Arietta Con Var, Non Tanto Allegro

Customer Reviews:

PONDERING PLATTI.......2001-10-31

Giovanni Benedetto Platti (1697-1763), rather than following the stylistic musical trends of his time, instead, like very few others, protracted a "bridge" between the Baroque and Classical eras and, in many instances, especially obvious in these works, forayed adventurously into a sort of quasi-Romanticism. The six delightful Op. 3 Sonatas for Flute, Cello and Harpsichord--- all four movements, with the exception of No. 5, which is only three--- are unacademic, fresh, mellow, often playful, singing works. Allegros are radiant, never coarse; sprightly, but always with a subtle hint of nostalgia. Slow movements, particularly fetching, plunge far deeper than one might suppose for this musical period, often "touching" us in the most spontaneous ways. A composer of exquisite taste and melody, Platti, whose Op. 3 was written when he was forty-six years old, is yet another artist who seems unjustly doomed to obscurity; there is hope, though, when an enterprising ensemble such as this--- Bernhard Bohm (Transverse Flute), Rainer Zipperling (Cello) and Glen Wilson (Harpsichord)--- warm and intimate as anyone could want---has the moxie to unearth such insistent treasures. Rarely have flute sonatas been played or recorded so lovingly, or convincingly.

[Running time: 67:40]

Beethoven: Complete Sonatas for Pianoforte and Cello

Average customer rating:

great beethoven synthesis

Beethoven: Complete Sonatas for Pianoforte and Cello

Manufacturer: Channel Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Brahms: Sonatas for Violoncello & Piano
Beethoven: Complete Sonatas & Variations [Hybrid SACD]

ASIN: B000003UXZ
Release Date: 1993-08-17

Tracks:

Son Op.5 No.1 in F: Adagio Sostenuto
Son Op.5 No.1 in F: Allegro
Son Op.5 No.1 in F: Rondo (Alledgro Vivace)
Son Op.5 No.2 in g: Adagio Sostenuto E Espressivo
Son Op.5 No.2 in g: Allegro Molto Piu Tosto Presto
Son Op.5 No.2 in g: Rondo (Allegro)

Tracks:

Son Op.69 in A: Allegro Ma Non Tanto
Son Op.69 in A: Scherzo (Allegro Molto)
Son Op.69 in A: Adagio Cantabile
Son Op.69 in A: Allegro Vivace
Son Op.102 No.1 in C: Andante
Son Op.102 No.1 in C: Allegro Vivace
Son Op.102 No.1 in C: Adagio
Son Op.102 No.1 in C: Allegro Vivace
Son Op.102 No.2 in D: Allegro Con Brio
Son Op.102 No.2 in D: Adagio Con Molto Sentimento D'affetto
Son Op.102 No.2 in D: Allegro Fugato

Customer Reviews:

great beethoven synthesis.......2005-12-15

Well, say Beethoven and then you will remember symphonies and overtures, sonatas, concerti, cuartets (perhaps in that order of popularity), missa solemnis, fidelio ... who cares the cello sonatas??? They are not the most famous works. Yes, but then remember the most important thing of LvB as a composer is not any of his works alone, but the evolution anyone can see inside his glorious output. something not so marked in bach, mozart, brahms, and others (yes, stravinsky, monteverdi and others also have different musical styles, but I think LvB is the most famous composer with such different musical approaches). so to grasp the genious, the scope of his career I think one needs to listen to his evolution.
begin with the symphonies: 5 or 6 discs from c 1801 to 1824.
or the piano sonatas around 10 cds from c 1795 to 181...
or quartets, from c 1800s to 1826 or 1827, several cds.
Don't count concertos or violin sonatas, he never composed one in a late style.
for a cheap survey of his evolution, then you have to buy samples of that famous works or ... buy the cello sonatas.
2 from 1796 (early), that of 1809 (middle) and those 2 from 1815 (late): all of his career represented by only 2 hours.
in the early you will find virtuosism with that "drive" so typical of LvB at that time, combined with something of the "classical" style. And look to the length of movements: how developped are they!!!. In the middle sonata, all the glorious lyricism and grandeur which can be found in the pastoral or the violin concerto. And in the late sonatas some of the most profound music he composed: spiritual slow sections or movements, with quite concentrated rapid ones and to end the last sonata, a fugue. sometimes the writing becomes rapsodic, like a fantasy.
the combination here is that of a period cello and a fortepiano. There is more balanced sound because the piano sounds not so powerfull in general and produces a sound like a cimbalon, achieving greater clarity. and the cello plays with low vibrato, with a style sometimes remembering baroque. for some people it can be a bit underpowered, but for me once I get accustomed to this style, I cant stand anymore traditional approaches. the engineers succedded in achieving that balance I spoke before.
1st movs expositions are repeated (essential in 3dr sonata) and missing in usual recordings to make room for the early variations, which are absent here. The reason I put 4 stars is that, I wouls like they to have included at least one of the variations, but I read channel classics have made another cd with all 3 cello variations. I dont know the new wispelwey recording (with a modern piano, I think). here he plays very well, together with the little known Komen in fortepiano. Also I don`t know other period performances (tan with pleeth, bylsma with Imseerel, bylsma with bilson, coin with cohen).
This set is very, very good.

Average customer rating:

The Complete Performer

Manufacturer: Channel Classics
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B000003UX7
Release Date: 1997-11-11

Tracks:

String Quintet in C Major, D 956 opus 163: Allegro ma non troppo - Pieter Wispelwey
String Quintet in C Major, D 956 opus 163: Adagio - Pieter Wispelwey
String Quintet in C Major, D 956 opus 163: Scherzo (Presto) - Pieter Wispelwey
String Quintet in C Major, D 956 opus 163: Allegretto - Pieter Wispelwey

Tracks:

Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Thema - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 1 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 2 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 3 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 4 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 5 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 6 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 7 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 8 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 9 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 10 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'See the conqu'ring hero comes' aus Handels Oratorium ' Judas Maccabaeus' G Major - WoO 45 (1796): Variation 11 - Pieter Wispelwey
Variation 12 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Thema - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 1 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 2 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 3 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 4 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 5 - Pieter Wispelwey
Variation 6 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 7 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 8 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 9 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 10 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 11 - Pieter Wispelwey
Zwolf Variationen uber das Thema 'Ein Madchen oder Weibchen' aus Mozarts Oper 'Die Zauberflote' F Major Opus 66 (1798): Variation 12 - Pieter Wispelwey
Sieven Variationen uber das Thema 'Bei Mannern, welch Liebe fuhlen' aus Mozarts Oper 'Die Zauberflote' E flat Major - WoO 46 (1801): Thema - Pieter Wispelwey
Sieven Variationen uber das Thema 'Bei Mannern, welch Liebe fuhlen' aus Mozarts Oper 'Die Zauberflote' E flat Major - WoO 46 (1801): Variation 1 - Pieter Wispelwey
Sieven Variationen uber das Thema 'Bei Mannern, welch Liebe fuhlen' aus Mozarts Oper 'Die Zauberflote' E flat Major - WoO 46 (1801): Variation 2 - Pieter Wispelwey
Sieven Variationen uber das Thema 'Bei Mannern, welch Liebe fuhlen' aus Mozarts Oper 'Die Zauberflote' E flat Major - WoO 46 (1801): Variation 3 - Pieter Wispelwey
Sieven Variationen uber das Thema 'Bei Mannern, welch Liebe fuhlen' aus Mozarts Oper 'Die Zauberflote' E flat Major - WoO 46 (1801): Variation 4 - Pieter Wispelwey
Sieven Variationen uber das Thema 'Bei Mannern, welch Liebe fuhlen' aus Mozarts Oper 'Die Zauberflote' E flat Major - WoO 46 (1801): Variation 5 - Pieter Wispelwey
Sieven Variationen uber das Thema 'Bei Mannern, welch Liebe fuhlen' aus Mozarts Oper 'Die Zauberflote' E flat Major - WoO 46 (1801): Variation 6 - Pieter Wispelwey
Sieven Variationen uber das Thema 'Bei Mannern, welch Liebe fuhlen' aus Mozarts Oper 'Die Zauberflote' E flat Major - WoO 46 (1801): Variation 7 - Pieter Wispelwey
Sonata fur Violoncello und Kavier, F Major Opus 17 (1802): Allegro moderato - Pieter Wispelwey
Sonata fur Violoncello und Kavier, F Major Opus 17 (1802): Poco Adagio, quasi Andante - Pieter Wispelwey
Sonata fur Violoncello und Kavier, F Major Opus 17 (1802): Rondo - Pieter Wispelwey

Tracks:

Sonato nr. 6 B flat Major: Preludio - Vivaldi
Sonato nr. 6 B flat Major: Allemanda - Vivaldi
Sonato nr. 6 B flat Major: Largo - Vivaldi
Sonato nr. 6 B flat Major: Corrente - Vivaldi
Sonata nr. 7 g minor: Preludio - Vivaldi
Sonata nr. 7 g minor: Allemanda - Vivaldi
Sonata nr. 7 g minor: Sarabanda - Vivaldi
Sonata nr. 7 g minor: Gigue - Vivaldi
Sonata nr. 9 E flat Major: Larghetto - Vivaldi
Sonata nr. 9 E flat Major: Allegro - Vivaldi
Sonata nr. 9 E flat Major: Andante - Vivaldi
Sonata nr. 9 E flat Major: Allegro - Vivaldi
Sonata nr. 8 a minor: Largo - Vivaldi
Sonata nr. 8 a minor: Allegro Poco - Vivaldi
Sonata nr. 8 a minor: Largo - Vivaldi
Sonata nr. 8 a minor: Allegro - Vivaldi
Sonata nr. 4 B flat Major: Largo - Vivaldi
Sonata nr. 4 B flat Major: Allegro - Vivaldi
Sonata nr. 4 B flat Major: Largo - Vivaldi
Sonata nr. 4 B flat Major: Allegro - Vivaldi
Sonata nr. 4 B flat Major: Largo - Vivaldi
Sonata nr. 4 B flat Major: Allegro - Vivaldi
Sonata nr. 4 B flat Major: Largo - Vivaldi
Sonata nr. 4 B flat Major: Allegro - Vivaldi

Tracks:

Sonata for pianoforte and cello opus 38 in e minor: Allegro non troppo - Johannes Brahms
Sonata for pianoforte and cello opus 38 in e minor: Allegretto quasi Menuetto - Johannes Brahms
Sonata for pianoforte and cello opus 38 in e minor: Allegro - Johannes Brahms
Sonata for pianoforte and cello opus 99 in F major: Allegro vivace - Johannes Brahms
Sonata for pianoforte and cello opus 99 in F major: Adagio affettuoso - Johannes Brahms
Sonata for pianoforte and cello opus 99 in F major: Allegro passionato - Johannes Brahms
Sonata for pianoforte and cello opus 99 in F major: Allegro molto - Johannes Brahms

Music Track:

Music Track

music track

Recommended Music:

Moonmadness [Import]

Prokofiev: Piano Concertos Nos. 1, 4, 5

Piano Concertos 9

Music: Disco 90's [Import]

Preppy Deluxe

Saltarello - Songs and Stories

Rocket Ship Beach

Mozart: More Greatest Hits

The Man Who Would Be King: The Best of Orion

Soundscape

Room for Squares

O Melhor De Sertanejo: Grandes Sucessos [Import]

Nuyorican Soul [Import]

Beethoven: The Piano Concertos

Happy Land: Musical Tributes To Laura Ingalls Wilder