Piano Sonatas 16 17 18 & 25

On this CD:

1. Piano Sonata No. 16 in G major, Op. 31/1
Composed by Ludwig van Beethoven
Performed by Artur Schnabel

2. Piano Sonata No. 17 in D minor ("Tempest"), Op. 31/2
Composed by Ludwig van Beethoven
Performed by Artur Schnabel

3. Piano Sonata No. 18 in E flat major ("Hunt") Op. 31/3
Composed by Ludwig van Beethoven
Performed by Artur Schnabel

4. Piano Sonata No. 25 in G major ("Cuckoo") Op. 79
Composed by Ludwig van Beethoven
Performed by Artur Schnabel

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

Robin Friedman

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

Sometimes the old ways are the best
The Love of Schubert
Great, but Prefer the Schiff
Elegance, accuracy and expressiveness!
Heavenly Length and Breadth

Schubert: The Piano Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General Christmas | Holiday | Miscellaneous | Styles | Music

Classical | Box Sets | Stores | Music

Deutsche Grammophon: Music | Specialty Stores | Music

General Christmas | Holiday Music | Special Features | Music
Similar Items:

Brahms: Works for Solo Piano
Schubert: 8 Symphonies
Chopin: The Piano Works
Schubert: The Complete Impromptus
Liszt: Piano Works

ASIN: B00004SA8A
Release Date: 2000-10-10

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

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

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

General | Classical | Styles | Music

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

Beethoven: The 10 Sonatas for Violin & Piano
Beethoven: Piano Sonatas (Complete) [Box Set]
Schubert: Works for Violin and Piano
Beethoven`s Piano Sonatas: A Short Companion
Beethoven: The Piano Trios

ASIN: B000063DK9
Release Date: 2006-01-01

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

Beethoven: The Complete Piano Sonatas & Concertos

Average customer rating:

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

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Liszt: Piano Works
Chopin: The Piano Works
Schubert: The Piano Sonatas
Brahms: Works for Solo Piano
Bach: Well-Tempered Clavier

ASIN: B00000C2F7
Release Date: 1999-11-09

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com

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

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

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

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

General | Classical | Styles | Music

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

Richard Goode Performs Mozart
Richard Goode Plays Brahms
Beethoven - The Complete String Quartets / Alban Berg Quartet
Beethoven: Complete Piano Sonatas
Beethoven: The String Quartets

ASIN: B000005J2D
Release Date: 1993-10-05

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com essential recording

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Alfred Brendel Plays Beethoven Piano Sonatas, Vol. 2

Average customer rating:

Five stars for the performance, 2 stars for the product
Bought on referral - everything promised and more!
HE HAS THE TOUCH!
remarkable playing
This is Beethoven as Beethoven would have played it.

Alfred Brendel Plays Beethoven Piano Sonatas, Vol. 2

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Alfred Brendel plays Beethoven Piano Sonatas, Vol. 1
Alfred Brendel Plays Beethoven Piano Sonatas, Vol. III
Alfred Brendel Plays Beethoven, Vol. 4
Beethoven: The Late Piano Sonatas
Beethoven: Variations & Vignettes

ASIN: B000001K2S
Release Date: 1992-11-04

Tracks:

Sonata No. 23 In F Minor, Op. 57 'Appassionata': I. Allegro assai
Sonata No. 23 In F Minor, Op. 57 'Appassionata': II. Andante con moto
Sonata No. 23 In F Minor, Op. 57 'Appassionata': III. Allegro ma non troppo
Sonata No. 22 In F Major, Op. 54: I. In tempo d'un Menuetto
Sonata No. 22 In F Major, Op. 54: II. Allegretto
Sonata No. 26 In E-Flat Major, Op.81a 'Les Adieux': I. Les Adieux: Adagio-Allegro
Sonata No. 26 In E-Flat Major, Op.81a 'Les Adieux': II. L'Absence: Andante espressivo
Sonata No. 26 In E-Flat Major, Op.81a 'Les Adieux': III. Le Retour: Vivacisimamente
Sonata No. 16 In G Major, Op.31, No. 1: I. Allegro vivace
Sonata No. 16 In G Major, Op.31, No. 1: II. Adagio grazioso
Sonata No. 16 In G Major, Op.31, No. 1: III. Rondo: Allegretto

Tracks:

Sonata No. 17 In D Minor, Op. 31 No. 2 'Tempest': I. Largo-Allegro-Adagio
Sonata No. 17 In D Minor, Op. 31 No. 2 'Tempest': II. Adagio
Sonata No. 17 In D Minor, Op. 31 No. 2 'Tempest': III. Allegretto
I. Allegro
Sonata No. 18 In E-Flat Major, Op. 31 No. 3: II. Scherzo: Allegretto vivace
Sonata No. 18 In E-Flat Major, Op. 31 No. 3: III. Minuetto: Moderato e grazioso
Sonata No. 18 In E-Flat Major, Op. 31 No. 3: IV. Presto con fuoco
Sonata No. 21 In C, Op. 53 'Waldstein': I. Allegro con brio
Sonata No. 21 In C, Op. 53 'Waldstein': II. Introduzione: Adagio molto
Sonata No. 21 In C, Op. 53 'Waldstein': III. Rondo: Allegretto moderato-Prestissimo
Sonata No. 19 In Gm, Op. 49 No. 1: I. Andante
Sonata No. 19 In Gm, Op. 49 No. 1: II. Rondo: Allegro

Customer Reviews:

Five stars for the performance, 2 stars for the product.......2007-05-18

These CDs contain typical Alfred Brendel; somewhat workmanlike but technically brilliant performances of some wonderful works.

But when you put the CDs in your PC and click on a track, you don't hear what is labelled. The listings seem to be a little off. The discs contain all the music, but not in the same order listed on your computer screen. It's a pain to fix, but once it's fixed, these CDs are a bargain.

Bought on referral - everything promised and more!.......2007-04-11

Hujgh Nissenson's book, Days of Awe, inspired me to buy this particular recording of the Waldstein - it is fully "as advertised" in his novel - Brendel brought me back to Beethoven.

HE HAS THE TOUCH!.......2005-02-07

On the Vox 2-CD collections - vols. 1&2:
Alfred Brendel is the one.
He can illuminate even the Hammerklavier Sonata of Beethoven. That one being so difficult, with so many runs, trills, and effects I can't even name. But A.B. plays with such light, agile fluidity that the piece makes sense. He communicates it by - somehow - taking his time; being in control, being on top of the situation. The complication of LVB now makes sense - I imagine it's become easy for A.B. (after the years of practice, his gift is to render LVB's music as just "a snap.") He reanimates it with such clarity of mind and lightspeed of finger that we can hear our way into it. A resonant sound - all brought within hearing distance by a player who knows how to pause and how to get soft at the right moments in any complex piece.
Some of the most exciting and beautiful music available. Highly recommended.
- - -

remarkable playing.......2004-04-25

Beethoven the Titan (as described by radio commentator Karl Haas) is played by Brendel with many, many good characteristics. There is something very transcendant and seminal about Brendel and this composer. You can tell that Brendel is very, very attentive when he practices. Every note (just about) is cared for very lovingly. I think Brendel tries to play every note true to the overall scheme of the piece, as well as the individual phrase in which it lies. For example, it's exhilarating to hear Brendel go at "full steam" during the last movement of the "Appassionata" combining an awe-inspiring technique, clarity, tempo, expressivity, dynamism, and intelligence.

I dont know how Brendel's later recordings sound compared to this youthful one, but this one is simply terrific.

This is Beethoven as Beethoven would have played it........2003-04-12

These Brendel recordings of Beethoven are powerful, sensitive, poignant, subtle, clear, clean, and transparent. The phrasing, tempo, volume, peddling, and legato are perfect. The sound quality leaves nothing to be desired. I find myself comparing all other performances of Beethoven sonatas to the Brendel recordings, and have heard none better. In my mind, this is the standard. I'm buying the entire set.

Average customer rating:

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

Beethoven: Complete Piano Sonatas

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

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

ASIN: B0000037B3
Release Date: 1997-10-07

Tracks:</