Beethoven: The Complete Piano Sonatas, Vol. 7

On this CD:

1. Piano Sonata No. 23 in F minor ("Appassionata") Op. 57
Composed by Ludwig van Beethoven
Performed by Ian Hobson

2. Piano Sonata No. 24 in F sharp major ("A Thérèse") Op. 78
Composed by Ludwig van Beethoven
Performed by Ian Hobson

3. Piano Sonata No. 26 in E flat major ("Les Adieux") Op. 81a
Composed by Ludwig van Beethoven
Performed by Ian Hobson

4. Piano Sonata No. 27 in E minor, Op. 90
Composed by Ludwig van Beethoven
Performed by Ian Hobson

Customer Reviews:

Another winner from Brautigam's Beethoven sonata series.......2006-10-12

Just a superb collection of early Beethoven sonatas by Brautigam on fortepiano. I don't think I have ever heard Op.7 played better. I can almost visualize Beethoven banging away on a fortepiano when listening to this mezmerizing performance. I can't wait for the Op.31 sonatas, hopefully next in the series.

Beethoven: Piano Sonatas Complete Vol. 8

Average customer rating:

Annie fischer's Beethoven Piano Sonatas
Eureka!
Grace and Power
In a class by itself - Just like Schnabel!

Beethoven: Piano Sonatas Complete Vol. 8

Manufacturer: Hungaroton
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Beethoven: Complete Piano Sonatas, Vol.9
Beethoven: Complete Piano Sonatas Vol. 4
Beethoven: Complete Piano Sonatas Vol. 5
Beethoven: Piano Sonatas Vol. 7
Beethoven: Complete Piano Sonatas, Vol. 6

ASIN: B000009OEO
Release Date: 1998-10-21

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Beethoven: The Complete Violin Sonatas, Vol. 2

Average customer rating:

Amazing!
Beethoven's Middle and Late Violin Sonatas

Beethoven: The Complete Violin Sonatas, Vol. 2

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Complete Violin Sonatas Volume1
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Mozart: Great Violin Sonatas, Vol. 1
Favourite Violin Concertos
Beethoven: The Violin Sonatas

ASIN: B0000041CS
Release Date: 1996-01-23

Tracks:

Sonata No. 6 In A, Op. 30 No. 1 For Piano And Violin: 1. Allegro
Sonata No. 6 In A, Op. 30 No. 1 For Piano And Violin: 2. Adagio
Sonata No. 6 In A, Op. 30 No. 1 For Piano And Violin: 3. Allegretto con variazioni
Sonata No. 7 In C Minor, Op. 30 No. 2 For Piano And Violin: 1. Allegro con brio
Sonata No. 7 In C Minor, Op. 30 No. 2 For Piano And Violin: 2. Adagio cantabile
Sonata No. 7 In C Minor, Op. 30 No. 2 For Piano And Violin: 3. Scherzo. Allegro
Sonata No. 7 In C Minor, Op. 30 No. 2 For Piano And Violin: 4. Finale. Allegro
Sonata No. 8 In G, Op. 30 No. 3 For Piano And Violin: 1. Allegro assai
Sonata No. 8 In G, Op. 30 No. 3 For Piano And Violin: 2. Tempo di menuetto ma molto moderato e grazioso
Sonata No. 8 In G, Op. 30 No. 3 For Piano And Violin: 3. Allegro vivace

Tracks:

Sonata No. 9 In A, Op. 47 For Piano And Violin 'Kreutzer': 1. Adagio sostenuto - Presto
Sonata No. 9 In A, Op. 47 For Piano And Violin 'Kreutzer': 2. Andante con variazioni
Sonata No. 9 In A, Op. 47 For Piano And Violin 'Kreutzer': 3. Finale. Presto
Sonata No. 10 In G, Op. 96 For Piano And Violin: 1. Allegro moderato
Sonata No. 10 In G, Op. 96 For Piano And Violin: 2. Adagio espressivo
Sonata No. 10 In G, Op. 96 For Piano And Violin: 3. Scherzo. Allegro
Sonata No. 10 In G, Op. 96 For Piano And Violin: 4. Poco allegretto

Customer Reviews:

Amazing!.......2005-03-05

I love these pieces, especially 5, 7, 8, 9, & 10. I first heard Kreisler's versions, which are great. But only 'nine' is in stereo. So I bought Anna-Sophie Mutter's DG verion for a more recent copy. One problem, although Mutter's playing is flawless and the CD's clarity is superb, either the mixing, playing, or mic placement resulted in the violin often taking a distant back seat to the piano.

So I bought the Perlman/Askenazy 5/9 disk for my two favorites, and this disk for 6,7, & 10 (because I'm too cheap to by the whole Perlman/Ashkenazy Beethovin V. Sonata collection).

Guess what? Big surprise! I can't get the Haebler/Szeryng disks out of my player...unless it's to put them into my portable player, including & especially for the Kreutzer! In other words Haebler/Szeryng are GREAT!!!

Ok, this isn't telling the true audiophile much. There's no point in my discussing tempo, passion, inflection, or even recording quality, since beauty is in the ear of the beholder. But I will say this:

My immediate plan after posting this is to buy the rest of Haebler/Szeryng's Beethoven V. Sonata collection (Vol. 1)...before YOU can get it!

Beethoven's Middle and Late Violin Sonatas.......2004-01-07

This is the second two-CD set of Beethoven's ten sonatas for piano and violin performed by violinist Henryk Szeryng and pianist Ingrid Haebler. It includes Beethoven's final five works in this form, including the three sonatas of opus 30, the opus 47 sonata, and the opus 96 sonata.

The best-known work on this CD is Beethoven's ninth sonata in A, opus 47, the "Kreutzer" sonata. Beethoven dedicated this sonata, written in 1803, to a famous violinist, Rudolphe Kreutzer, who never played it. (Originally Beethoven dedicated the work to a violinist named Bridgetower who premiered the work with the composer at the piano. Beethoven withdrew the dedication after he and Bridgetower quarreled over a woman.) The Kreutzer is a flamboyant, virtuosic work of Beethoven's middle period. It features a lengthy opening movement full of double stops on the violin, challenging duels between the instruments and sweeping arpeggios on the piano. The middle movement is a contrasting and florid set of variations and the finale is a sweeping tarantelle that Beethoven originally composed for the first of the opus 30 violin sonatas. Some people hear this work as a musical recreation of the war between the sexes. Indeed, Tolstoy wrote a famous story, "The Kreutzer Sonata" on this theme. This is powerful, passionate music beautifully performed by Szeryng and Haebler and will undoubtedly lead many listeners to this set.

But there is much more to this collection than the Kreutzer. The remaining four sonatas on this collection are less well-known than is the Kreutzer but provide equally splendid, if different musical experiences. The listener will enjoy exploring these lesser-known compositions.

I was particularly impressed with Beethoven's final sonata for violin and piano, no. 10, in G. major opus 96. This four-movement work dates from 1812 and Beethoven dedicated it to a French violinist named Pierre Rode. The work lies on the border between Beethoven's second and third compositional periods. Unlike the Kreutzer, this is a subdued, quiet work, but one of great beauty and depth. The work opens with a short melodic phrase in the violin which is developed exquisitely in the movement between the two instruments. There is a lovely passage in thirds in the piano followed by a long, lyrical melody in the violin. The second movement opens with a long, chorale-like singing theme in the piano followed by a beautiful duet between the instruments. The third movement is a short minor-key scherzo and the fourth movement is a set of variations on a simple comic-opera like theme. Listeners who fall in love with this music may want to read Maynard Solomon's essay, "Pastoral Rhetoric, Structure: the Violin Sonata in G op. 96" in his book "Late Beethoven: Music, Thought and Imagination" (2003). Much as I love the Kreutzer, the opus 96 is probably the finest of Beethoven's ten sonatas for piano and violin.

The three violin and piano sonatas, opus 30, date from 1802 and invite comparison with the three contemporaneous piano sonatas of opus 31 (which include the "Tempest" sonata). Each of these three sonatas has its own character and the listener will enjoy hearing all of them. The first of the set is a three-movement work in A major. This is quiet, lyrical music. The "tarantelle" that Beethoven initially wrote to conclude this work would not fit well with the prior two movements. One can understand Beethoven using it as the finale for the Kreutzer and substituting a quieter concluding movement.

The second sonata in C-minor, in four movements, is the best known of the opus 30 set. Again, it opens with a short four-note piano figure which is developed into a movement of great force. There is much lyricism in this movement together with the passion attendant upon the C-minor key. The second movement is a long, slow theme first stated by the piano. There is a brief scherzo with a bubbly trio followed by a concluding rondo in the minor. The work ends on a fiery note.

The third opus 30 sonata is in G and is short and lively. It opens with a growling, swirling figure in the piano that again forms the basis for lengthy development and interplay between the instruments. The second movement is a simple, flowing minuet while the brief finale is fast and humorous -- almost foot-stomping in character. This too is a work that bears getting to know. One contemporary admirer of this sonata, Nigel Fortune, wrote: "There is no Beethoven sonata remotely like it, and it is one of his wittiest and most delightful works." (In "A Beethoven Companion", 1971, at 217)

Szeryng and Haebler collaborate beautifully on this CD and on their earlier CD which includes the first five Beethoven sonatas for piano and violin.

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

The same holds true as a rough approach to the interpretation of Beethoven's music -- including the 32 piano sonatas. Some performers emphasize the dramatic, rugged and virtuosic characteristics of the music. Other performers emphasize the music's inward, introspective qualities. The great German pianist Wilhelm Kempff's classic recording of the complete piano sonatas is clearly within the latter approach. Kempff (1895 -- 1991) recorded the complete Beethoven sonata-cycle twice, the first in the 1950's and the second in the 1960's. The latter version was reissued on eight CDs by Deutsche Gramophonne as part of its 87-CD Complete Beethoven Edition. I had the original version on LP and purchased the CD set when LPs became obsolete. I recently had the opportunity to relisten to Kempff's performances in their entirety.

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

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

Separate from a chronological approach, listeners interested in a complete set of the sonatas will probably have some familiarity with some of the better-known named sonatas, such as the "Pathetique", opus 13, the "Moonlight", opus 27 no. 2, the "Waldstein" opus 53 or the "Appassionata" opus 57. After falling in love with some of these works, many listeners will want to explore the entire set of 32 sonatas.

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

I think the greatest attraction of this set is the opportunity it affords to explore some of Beethoven's less frequently performed works. Again, Kempff is at his best in works of an introspective character. Thus, those coming to the sonata cycle for the first time will enjoy his performances of the opus 26 sonata, of opus 78, 79, and 81a ("Les Adieux) of opus 90, and of opus 101, 109, and 110. Opus 90, 101, and 109 are among my favorites of the cycle, and Kempff plays them soulfully and beautifully.

There is yet another group of sonatas that are still less well-known but receive excellent readings on this set. This group includes two early sonatas, opus 2 no 3 and opus 7, the opus 22 sonata, opus 27 no. 1 (the companion to the more famous "Moonlight"),opus 31 no. 3, the enigmatic opus 54, and, of course, the "Hammerklavier" sonata and the final sonata, opus 111. Each listeners choices and favorites among the 32 will vary and change with time and repeated hearings. This collection is an excellent introduction to all of them.

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

Robin Friedman

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

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

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

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

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

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

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

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

Beethoven: Piano Sonatas (Complete), Vol. 1 (Box Set)

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Great sound quality and performance!
Beethoven would approve!

Beethoven: Piano Sonatas (Complete), Vol. 1 (Box Set)

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Tracks:

Grave - Allegro Di Molto E Con Brio
Adagio Cantabile
Rondo: Allegro
Adagio Sostenuto
Allegretto
Presto
Allegro Assai
Andante Con Moto
Allegro Ma Non Troppo - Presto

Tracks:

Allegro
Adagio
Menuetto. Allegretto
Prestissimo
Allegro Vivace
Largo Appassionato
Scherzo. Allegretto
Rondo. Grazioso
Allegro Con Brio
Adagio
Scherzo. Allegro
Allegro Assai

Tracks:

Allegro Molto E Con Brio
Adagio Molto
Finale: Prestissimo
Allegro
Allegretto
Presto
Presto
Largo E Mesto
Menuetto. Allegro
Rondo. Allegro
Presto Alla Tedesca
Andante
Vivace

Tracks:

Andante Con Variazioni
Scherzo. Allegro Molto
Marcia Funebre Sulla Morte D'Un Eroe
Allegro
Allegro Vivace
Adagio Grazioso
Rondo. Allegretto
Allegro
Scherzo. Allegretto Vivace
Menuetto. Moderato E Grazioso
Presto Con Fuoco

Tracks:

Allegro Con Brio
Adagio Con Molta Expressione
Menuetto
Rondo. Allegretto
Allegro
Scherzo. Assai Vivace - Presto - Tempo I
Adagio Sostenuto. Appassionato E Con Molto Sentimento
Largo - Allegro
Allegro Risoluto. Fuga E Tre Voci, con Alcune Licenze

Customer Reviews:

Great sound quality and performance!.......2006-11-27

These Naxos performances of Jeno Jando are great. As one critic said, "these are remarkably even and consistent from sonata to sonata." Agreed. I love that Jando's readings are fast and loud, and taking virtually every repeat. I couldn't help but think, this is how Beethoven must have done them. This set is right at the top of my list, and the sound quality is the amazing, the best I've ever heard.

Other sets worth exploring:
Schnabel (EMI) - essential.
O'Conor (Telarc) - a mellow way to view the sonatas, and a great alternative to Jando.

Beethoven would approve!.......2004-06-07

I just finished listening to the complete Beethoven Piano sonatas by Jeno Jando (a couple of 5 disc boxes) and give them a big thumbs up, way up!! These are really powerful, accurate and well recorded performances, actually the best sounding recording of a piano I have ever heard. Just amazing.
I also would recommend these sets even if they cost three times as much, especially when the playing can easily compete with full-priced sets.
Stylistically, the performances are amazingly consistent from sonata no. 1 to sonata 32. Jando's interpretations tends to be honest rather than ego driven (you hear more of what Beethoven wanted, and less from the messenger) and taking nearly every repeat.
Like the reviewer before me, I also read along with the scores and I too was amazed by how precisely Jeno Jando sticks to Beethoven`s markings. Bravo!!

The only other complete set that I have is Schnabels on EMI. These Naxos sets are the first ones in many years, out of many boxes, that I felt are worth keeping as well.

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

Mvt. 1 Allegro
Mvt. 2 Adagio
Mvt.3 Menuetteo: Allegretto
Mvt. 4 Prestissimo
Mvt. 1 Allegro Vivace
Mvt. 2 Largo Appassionato
Mvt. 3 Scherzo: Allegretto
Mvt. 4 Rondo: Grazioso
Mvt. 1 Allegro Con Brio
Mvt. 2 Adagio
Mvt. 3 Scherzo: Allegro
Mvt. 4 Allegro Assai

Tracks:

Mvt. 1 Allegro Molto E Con Brio
Mvt. 2 Largo, Con Gran Espressione
Mvt. 3 Allegro
Mvt. 4 Rondo: Poco Allegretto E Grazioso
Mvt. 2 Allegro Molto E Con Brio
Mvt. 2 Adagio Molto
Mvt. 3 Finale: Prestissimo
Mvt. 1 Allegro
Mvt. 2 Allegretto
Mvt. 3 Presto

Tracks:

Mvt. 1 Presto
Mvt. 2 Largo E Mesto
Mvt. 3 Menuetto: Allegro
Mvt. 4 Rondo: Allegro
Mvt. 1 Grave - Allegro Di Molto E Con Brio
Mvt. 2 Adagio Cantabile
Mvt. 3 Rondo: Allegro
Mvt. 1 Allegro
Mvt. 2 Allegretto
Mvt. 3 Rondo: Allegro Comodo
Mvt. 1 Allegro
Mvt. 2 Andante
Mvt. 3 Scherzo: Allegro Assai

Amazon.com

Seymour Lipkin's performances are uneven. He is regrettably inconsistent in his use of repeats. (This listener wants them all.) He tames the early Sonatas, playing graciously but without their startling innovative quality. Most of the works in the Op. 20s are beautifully performed, although the opening movement of the "Moonlight" is too dreamy and slow and the finale too mild. Op. 26 and 28 are wonderful, and so are similarly lyrical, contemplative pieces like Op. 81a and Op. 101. The big challenges are met with limited success. The "Waldstein" and "Appassionata" lack excitement; the "Hammerklavier" is fine until the final fugue, which comes across with little power. Op. 109 and 110 are very much underplayed, and then Op. 111 is a bold, visionary performance. Go figure. The supplementary materials include a long, informative essay by Ted Libbey, a brief bio of the performer, and scores of all of the music, although in a rather heavily edited edition. This isn't the ultimate recording of Beethoven's piano sonatas (go to Goode on Nonesuch for a modern recording, Schnabel on Naxos and Nat on EMI on EMI for unique insights). But it certainly offers a lot of material for 34 bucks! --Leslie Gerber [This review refers to the uniquely packaged complete Lipkin Beethoven cycle contained on one CD-ROM.]

Beethoven: The Complete Piano Sonatas Vol. 2

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Beethoven: The Complete Piano Sonatas Vol. 2

Manufacturer: Zephyr Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000A7XM
Release Date: 1998-08-25

Beethoven: Complete Piano Sonatas, Vol. 1

Average customer rating:

Very Poor Transfer

Beethoven: Complete Piano Sonatas, Vol. 1

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

General | Classical | Styles | Music

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

Customer Reviews:

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

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