Beethoven: Diabelli Variations/Moonlight Sonata

On this CD:

1. Variations for piano in C major on a waltz by Diabelli ("Diabelli Variations"), Op. 120
Composed by Ludwig van Beethoven
Performed by Daniel Barenboim

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

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!

Beethoven, Wagner, Verdi: The Tárrega Transcriptions

Average customer rating:

Beethoven, Wagner, Verdi: The Tárrega Transcriptions

Manufacturer: Ondine
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
ASIN: B00009IAY1
Release Date: 2003-06-24

Tracks:

Moonlight
Menuet
Fragmento De La 7a Sinfonia
Marcha Funebre De La Sonata No. 12, Op. 26
Scherzo De La Sonata No. 2, Op. 2
Adagio Cantabile
Tema
Variacion Del Septimino
Andante De La Sonata No. 9, Op. 47, 'Kreutzer'
Menuet No. 3, 6 Minuets, WoO 10
Largo Con Gran Espressione
Tannhauser - Fragmento De La Sinfonia - Pilgrims' Chorus
Marcha De Tannhauser
Fantasy On Themes From La Traviata

Alfredo Perl Plays Ludwig van Beethoven (Box Set)

Average customer rating:

Give a gift to yourself and your friends
Honestly Beethoven (Beethoven honesto)
Very nice Box Set
Bravo to Perl! A Great Way to Experience Beethoven

Alfredo Perl Plays Ludwig van Beethoven (Box Set)

Manufacturer: Arte Nova Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Album Details

Ddd. Special Edition 10 CD Box-set Collection of Beethoven's Complete Piano Sonatas.

Customer Reviews:

Give a gift to yourself and your friends.......2002-01-30

Thanks to Arte Nova and the artists for giving us top-quality Beethoven performances (symphonies, string quartets, and piano sonatas) at below-top prices. The Perl piano interpretations are comparable to those of Kovacevich and Brendel. The sound quality of these CD's is excellent, and I feel Perl plays the lyrical and dramatic passages of the sonatas just right. If you are interested in getting acqainted with all the Beethovem piano sonatas and the Diabelli variations (op. 120), this is the set to buy. This collection also makes a great gift to a music-loving friend!

Honestly Beethoven (Beethoven honesto).......2000-07-12

I complete this set buying one by one, for the price, too, but i had a great suprise when I listened the vol. 2 (Moonlight sonata) and the Diabelli variations. Perl is relationed with th classic and romantic repertoires (hear his Liszt!), and in these interpretetions are in the spirit of Brendel, Pollini and Arrau, leaving to the climax of each sonata and give a timeless impression of the works. Maybe is not too fogous, but the music introduces in our souls forever, like all the music of Beethoven. Highlits: "Moonlight", "Waldstein", "Hammerklavier" and op. 109. Good price, and the only less positive point, is the recording. I'm sure that this interpretation will be better in the future. Listen to Beethoven. Note: En español, ver los volumenes en separado

Very nice Box Set.......2000-02-19

I have to admit I bought this because it is competitively priced, but I listen to all these discs becuase of the great interpretaitons.

I do not own any other complete sets of the 32, but I have most of them on vinyl from many other painists. Perl's interpretaions are, to me, conservative stylistically (nothing eccentric) but he brings great warmth to each and every note.

The sonics are very good, as well. As far as room ambience is concerned, if you had a 1 to 10 scale where 1 is a typical Glenn Gould record and 10 is one of those Nimbus records with gobs of room echo (like the sound of a pianist playing for a ballet class) I would place these recordings at about a 6, which is slightly more room ambiance than I would like, in the louder passages, but it adds something to the quieter passages.

I think that these recordings will stand the test of time.

Bravo to Perl! A Great Way to Experience Beethoven.......1998-10-04

Beethoven would no doubt approve of this fine collection of his thirty-two piano sonatas. Alfredo Perl gives passionate, thoughtful performances that rightly put the focus on Beethoven's music and not Perl himself. I especially enjoyed Perl's rendition of the Diabelli Variations, which is included on a bonus 10th disc; I found his interpretation of the variations to be one of the finest in recent memory. Moreover, at this price, this collection (over 12 hours of music) is hard to beat-- either as an introduction to the magic of Beethoven's piano sonatas, or as a fresh take for those already familiar with these seminal works. Bravo!

Beethoven: Diabelli Variations/Moonlight Sonata

Average customer rating:

A distinguished approach!
Extraordinary
another opinion
Westminster reissues are released by Universal (Polygram)
Beethoven, Diabelli Variations

Beethoven: Diabelli Variations/Moonlight Sonata

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B00005LMVP
Release Date: 2001-06-12

Tracks:

33 Vars On A Waltz By Anton Diabelli, Op.120: Thema. Vivace
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 1: Alla Marcia Maestoso
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 2: Poco Allegro
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 3: L'istesso Tempo
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 4: Un Poco Piu Vivace
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 5: Allegro Vivace
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 6: Allegro Ma Non Troppo E Serioso
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 7: Un Poco Piu Allegro
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 8: Poco Vivace
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 9: Allegro Pesante E Risoluto
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 10: Presto
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 11: Allegretto
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 12: Un Poco Piu Moto
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 13: Vivace
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 14: Grave E Maestoso
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 15: Presto Scherzando
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 16: Allegro
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 17
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 18: Poco Moderato
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 19: Presto
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 20: Andante
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 21: Allegro Con Brio - Meno Allegro
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 22: Allegro Molto (Alla 'Notte E Girono...
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 23: Allegro Assai
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 24: Fughetta. Andante
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 25: Allegro
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 26
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 27: Vivace
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 28: Allegro
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 29: Adagio Ma Non Troppo
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 30: Andante, Sempre Cantabile
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 31: Largo, Molto Expressivo
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 32: Fuga. Allegro - Poco Adagio
33 Vars On A Waltz By Anton Diabelli, Op.120: Var 33: Tempo Di Menuetto, Moderato (Ma Non Tirarsi...
Pno Son No.14 in c#, Op.27 No.2 'Moonlight' (Son Quasi Una Fant): 1. Adagio
Pno Son No.14 in c#, Op.27 No.2 'Moonlight' (Son Quasi Una Fant): 2. Allegretto
Pno Son No.14 in c#, Op.27 No.2 'Moonlight' (Son Quasi Una Fant): 3. Presto Agitato

Customer Reviews:

A distinguished approach!.......2006-08-10

Barenboim just was in his 24 when dared to play this challenging Beethoven' s Op. And the result was extremely fortunate. His thrilling virtuosity is joined of a profound sense of the flow, so necessary in Beethoven but still more in this piece. Diabelli Variations are mistakenly conceived as a simple set of variations and played without the enough tact and overall sense of gradual transformations, each one of them with its respective specific weight and special significance.

I really think the most appropriate term to label this work would be "Theme with Variations", but all of us what his acceptation meant to Beethoven. You must be absolutely involved with the spirit of the last movement of his Third symphony and obviously with his Variations Op. 35.

And Barenboim in spite of his youth, understood the transcendence of the material that nestles beneath the score. The result was an intense, scintillating, vibrating and expressive version of this enigmatic work.

This record may be included without any hesitation among the twelve most celebrated performances ever recorded: Rudolf Serkin, to my mind recorded the most expansive I recalled, Richter recorded two emblematic performances (one in 1971 in Florence, and another one in 1985); Friedrich Gulda made a vibrant performance; Georg Demus made an electrifying reading too.

Go for this one. It's absolutely revealing.

Extraordinary.......2004-05-14

I also could not disagree more with the first two reviewers. This is one extraordinary disc! First, to clear up confusion: it is indeed a DGG reissue of an earlier Westminster recording. (DGG/Universal music have apparently bought the rights to--at least some of--the Westminster library.) Regarding the music: the Moonlight sonata is provided simply as a filler for the major work on this disc, the Diabelli variations. But what a filler it is! The sonata was recorded in 1958, when Barenboim was only 15! It is a lucid, insightful reading. Somewhat poorly recorded--and in mono--and not as beautifully refined as his later (when he was in his mid-20s) version on EMI, but a fascinating recording by a budding great pianist. Now, onto the crown jewel of this disc, the Diabelli variations, which is without doubt the finest performance of this problematic work that I have yet heard. Yes, Beethoven wrote the variations as a "joke" (in response to Diabelli's crazy request of 50 composers of the day to write one variation each for a self-promotional work he was planning), but he turned the "joke" on Diabelli, writing 33 variations instead of the requested one, and turning the trivial melody provided into a tour-de-force of the piano literature, at times gentle and lyrical, at others powerful, contrapuntal, fugal. Beethoven's extreme juxtaposition of styles and tempi in this work almost defies a successful performance. Along with the sonatas numbers 29 and 32, it is among his greatest works for the piano. Along with Bach's Goldberg, it is the greatest of variation works for the keyboard. Many pianists attempt--in my opinion, unsuccessfully--to unify the work by toning it down, evening out the tempi and dynamics. Barenboim, on the other hand, emphasizing the magisterial nature of the work, goes for broke in this performance, playing it for all it's worth, investing all of his artistic insight and pianistic muscle, and going all out on every single variation. The result is a performance of technical facility and intellectual depth that defies adequate verbal praise. He achieves an almost uncanny unity in the piece, albeit through the shifting variation of his playing. Though over an hour in length--he sometimes lingers on a slow variation where others simply play on--each time I have listened to this recording, I have listened through to the conclusion; like a good book, I'm unable to put it down! Did I mention that his performance of the Diabelli--which has quite good sound, by the way, better than the Moonlight--was recorded in 1965, when Barenboim was but 22 or 23?

another opinion.......2003-12-14

i could not disagree more with the two previous reviewers.

first, the sound quality is very good. these are relatively old recordings from the days of vinyl, but the transfer is without hiss, noise, or a lack of depth that sometimes comes with reissues. the quality is right there with reissues from sony,decca, etc.

second, many listeners are familiar with mr. barenboim from his more recent recordings, but this is a glimpse of the artist at a younger age. the diabelli variations are not the most familiar of beethoven's keyboard compositions, so many listeners will come to this CD with no previous experience. let it be said that, yes, this was one of beethoven's lighter pieces, but mr. barenboim does nothing to diminish that lightness, rather he performs extremely well. the subtle nuances are here, the changes in tonal color, and the general feel are brought out with care and conviction. furthermore, mr. barenboim's reading of the "moonlight" sonata is not "leaden," it is a tender reading. you don't race through a piece this melodic and meditative! it is evocative of a quiet night beneath the moon, a time for thinking and reflection. perhaps, this reading focuses more on the seriousness of the thinking being done rather than trying to be background noise for a cocktail party!

enough said--as with other titles in the westminister reissue series, this one is superb.

Westminster reissues are released by Universal (Polygram).......2003-05-16

The provenance could be made clearer for the uninitiated. This is an earlier Barenboim recording made for Westminster / MCA in 1966 (Variations) and 1959 (Sonata). There was a later, not appreciably better, Variations released some years later.

The sound is not modern, but the bigger problem is Barenboim's leaden phrasing, soggy tempos, and excessive use of the sustain pedal. He just takes the piece too seriously. Yes there are variations of great seriousness - which quality Barenboim comes close to overdoing - but many more of great humor. Barenboim completely misses the fun in the piece.

The so-called Moonlight Sonata suffers almost as much. It is just too heavy and lacks charm.

The "last nail" for me is the playing. While much of it is virtuosic, there are moments of sloppy articulation that I found surprising.

So, not recommended, but not because of the sound quality. There are some really great Westminster recordings that have been reissued - and a number that have not been - but this is not one of them.

----- A postscript (May 2006) in response to a subsequent review - which hardly matters, I suppose, since this CD is gone now.

Mr. Pille could have stated his support for this recording without an attack on other reviewers.

I stand by my earlier assessment and for the record: (1) a more careful reading of my comment would have revealed that I found the issue of sound irrelevant - it wasn't a complaint and (2) it is possible to not like Mr. Barenboim's interpretations of these works - whatever his age when he made them - and still not be the tasteless slob that Mr. Pille suggests. There is a lot of interpretive territory between Mr. Barenboim's playing of these works and "Far-Eastern robot do[ing] these pieces robot perfectly with robot perfect sound" - ignoring the racial slur that should have been caught by Amazon. Ad hominem attacks are the real danger of open forum reviews on amazon.com.

Beethoven, Diabelli Variations.......2002-05-02

Terrible sound. Westminster recording was delivered instead of Poligram Records #471203. Substandard recording quality.

Beethoven: The Complete Piano Sonatas & Diabelli Variations

Average customer rating:

sss'aight...
The Best Since Schnabel...
A performance of the highest artistry imaginable
Kuerti - Plays Beethoven Sonatas with Rare Fantasy & Fire
A real discovery

Beethoven: The Complete Piano Sonatas & Diabelli Variations

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

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ASIN: B000009CY6
Release Date: 2007-04-09

Tracks:

Son No.1 in f, Op.2 No.1: Allegro
Son No.1 in f, Op.2 No.1: Adagio
Son No.1 in f, Op.2 No.1: Menuetto: Allegretto
Son No.1 in f, Op.2 No.1: Prestissimo
Son No.2 in A, Op.2 No.2: Allegro Vivace
Son No.2 in A, Op.2 No.2: Largo Appassionato
Son No.2 in A, Op.2 No.2: Scherzo: Allegretto
Son No.2 in A, Op.2 No.2: Rondo: Grazioso
Son No.3 in C, Op.2 No.3: Allegro Con Brio
Son No.3 in C, Op.2 No.3: Adagio
Son No.3 in C, Op.2 No.3: Scherzo: Allegro
Son No.3 in C, Op.2 No.3: Allegro Assai

Tracks:

Son No.4 in E flat, Op.7: Allegro Molto E Con Brio
Son No.4 in E flat, Op.7: Largo Con Gran Espressione
Son No.4 in E flat, Op.7: Allegro
Son No.4 in E flat, Op.7: Rondo: Poco Allegretto E Grazioso
Son No.8 in c, Op.13 'Pathetique': Grave; Allegro Di Molto E Con Brio
Son No.8 in c, Op.13 'Pathetique': Adagio Cantabile
Son No.8 in c, Op.13 'Pathetique': Rondo: Allegro
Son No.12 in A flat, Op.26: Andante Con Variazioni
Son No.12 in A flat, Op.26: Scherzo: Allegro Molto
Son No.12 in A flat, Op.26: Marcia Funebre Sulla Morte D'Un Eroe
Son No.12 in A flat, Op.26: Allegro

Tracks:

Son No.5 in c, Op.10 No.1: Allegro Molto E Con Brio
Son No.5 in c, Op.10 No.1: Adagio Molto
Son No.5 in c, Op.10 No.1: Finale: Prestissimo
Son No.6 in F, Op.10 No.2: Allegro
Son No.6 in F, Op.10 No.2: Allegretto
Son No.6 in F, Op.10 No.2: Presto
Son No.7 in D, Op.10 No.3: Presto
Son No.7 in D, Op.10 No.3: Largo E Mesto
Son No.7 in D, Op.10 No.3: Menuetto: Allegro
Son No.7 in D, Op.10 No.3: Rondo: Allegro
Son No.9 in E, Op.14 No.1: Allegro
Son No.9 in E, Op.14 No.1: Allegretto
Son No.9 in E, Op.14 No.1: Rondo: Allegro Commodo

Tracks:

Son No.10 in G, Op.14 No.2: Allegro
Son No.10 in G, Op.14 No.2: Andante
Son No.10 in G, Op.14 No.2: Scherzo: Allegro Assai
Son No.13 in E flat, Op.27 No.1 'Sonata Quasi Una Fant': Andante: Allegro
Son No.13 in E flat, Op.27 No.1 'Sonata Quasi Una Fant': Allegro Molto E Vivace
Son No.13 in E flat, Op.27 No.1 'Sonata Quasi Una Fant': Adagio Con Espressione; Allegro Vivace
Son No.14 in c#, Op.27 No.2 'Sonata Quasi Una Fant': Adagio Sostenuto
Son No.14 in c#, Op.27 No.2 'Sonata Quasi Una Fant': Allegretto
Son No.14 in c#, Op.27 No.2 'Sonata Quasi Una Fant': Presto
Son No.15 in D, Op.28 'Pastorale': Allegro
Son No.15 in D, Op.28 'Pastorale': Andante
Son No.15 in D, Op.28 'Pastorale': Scherzo: Allegro Vivace
Son No.15 in D, Op.28 'Pastorale': Rondo: Allegro, Ma Non Troppo

Tracks:

Son No.16 in G, Op.31 No.1: Allegro Vivace
Son No.16 in G, Op.31 No.1: Adagio Grazioso
Son No.16 in G, Op.31 No.1: Rondo: Allegretto
Son No.17 in d, Op.31 No.2 'The Tempest': Largo: Allegro
Son No.17 in d, Op.31 No.2 'The Tempest': Adagio
Son No.17 in d, Op.31 No.2 'The Tempest': Allegretto
Son No.18 in E flat, Op.31 No.3: Allegro
Son No.18 in E flat, Op.31 No.3: Scherzo: Allegretto Vivace
Son No.18 in E flat, Op.31 No.3: Menuetto; Moderato E Grazioso
Son No.18 in E flat, Op.31 No.3: Presto Con Fuoco

Tracks:

Son No.11 in B flat, Op.22: Allegro Con Brio
Son No.11 in B flat, Op.22: Adagio Con Molta Espressione
Son No.11 in B flat, Op.22: Menuetto
Son No.11 in B flat, Op.22: Rondo: Allegretto
Son No.22 in F, Op.54: In Tempo D'Un Menuettto
Son No.22 in F, Op.54: Allegretto
Son No.23 in f, Op.57 'Appassionata': Allegro Assai
Son No.23 in f, Op.57 'Appassionata': Andante Con Moto
Son No.23 in f, Op.57 'Appassionata':Allegro Ma Non Troppo
Sonatina No.25 in G, Op.79: Presto Alla Tedesca
Sonatina No.25 in G, Op.79: Andante
Sonatina No.25 in G, Op.79: Vivace

Tracks:

Son No.19 in g, Op.49 No.1: Andante
Son No.19 in g, Op.49 No.1: Rondo: Allegro
Son No.20 in G, Op.49 No.2: Allegro Ma Non Troppo
Son No.20 in G, Op.49 No.2: Tempo Di Menuetto
Son No.21 in C, Op.53 'Waldstein': Allegro Con Brio
Son No.21 in C, Op.53 'Waldstein': Intro: Adagio Molto
Son No.21 in C, Op.53 'Waldstein': Rondo: Allegretto Moderato; Prestissimo
Son No.24 in F#, Op.78: Adagio Cantabile; Allegro Ma Non Troppo
Son No.24 in F#, Op.78: Allegro Vivace
Son No.26 in E flat, Op.81a 'Les Adieux': Adagio: Allegro
Son No.26 in E flat, Op.81a 'Les Adieux': Andante Espressivo
Son No.26 in E flat, Op.81a 'Les Adieux': Vivacissimamente

Tracks:

Son No.28 in A, Op.101: Etwas Lebhaft Und Mit Der Innigsten Empfindung
Son No.28 in A, Op.101: Lebhaft. Marschmassig
Son No.28 in A, Op.101: Langsam Und Sehnsuchtvoll
Son No.28 in A, Op.101: Geschwinde, Doch Nicht Zu Sehf, Und Mit Entschlossenheit
Son No.29 in B flat, Op.106 'Hammerklavier': Allegro
Son No.29 in B flat, Op.106 'Hammerklavier': Scherzo: Assai Vivace
Son No.29 in B flat, Op.106 'Hammerklavier': Adagio Sostenuto
Son No.29 in B flat, Op.106 'Hammerklavier': Largo: Allegro Risoluto

Tracks:

Son No.30 in E, Op.109: Vivace Ma Non Troppo; Adagio Espressivo
Son No.30 in E, Op.109: Prestissimo
Son No.30 in E, Op.109: Gesangvoll, Mit Innigster Empfindung
Son No.31 in F flat, Op.110: Moderato Cantabile Molto Espressivo
Son No.31 in F flat, Op.110: Allegro Molto
Son No.31 in F flat, Op.110: Adagio, Ma Non Troppo
Son No.31 in F flat, Op.110: Fuga: Allegro Ma Non Troppo
Son No.32 in c, Op.111: Maestoso; Allegro Con Brio Ed Appassionato
Son No.32 in c, Op.111: Arietta: Adagio Molto Semplice E Cantabile

Tracks:

Son No.27 in e, Op.90: Mit Lebhaftigkeit Und Durchaus Mit Empfindung Und Ausdruck
Son No.27 in e, Op.90: Nicht Zu Geschwind Und Sehr Singbar Vorgetragen
Vars On A Waltz By Anton Diabelli, Op.120: Theme: Vivace
Vars On A Waltz By Anton Diabelli, Op.120: I. Alla Marcia Maestoso
Vars On A Waltz By Anton Diabelli, Op.120: II. Poco Allegro
Vars On A Waltz By Anton Diabelli, Op.120: III. L'Istesso Tempo
Vars On A Waltz By Anton Diabelli, Op.120: IV. Un Poco Piu Vivace
Vars On A Waltz By Anton Diabelli, Op.120: V. Allegro Vivace
Vars On A Waltz By Anton Diabelli, Op.120: VI. Allegro, Ma Non Troppo E Serioso
Vars On A Waltz By Anton Diabelli, Op.120: VII. Un Poco Piu Allegro
Vars On A Waltz By Anton Diabelli, Op.120: VIII. Poco Vivace
Vars On A Waltz By Anton Diabelli, Op.120: IX. Allegro Pesante E Risoluto
Vars On A Waltz By Anton Diabelli, Op.120: X. Presto
Vars On A Waltz By Anton Diabelli, Op.120: XI. Allegretto
Vars On A Waltz By Anton Diabelli, Op.120: XII. Un Poco Piu Mosso
Vars On A Waltz By Anton Diabelli, Op.120: XIII. Vivace
Vars On A Waltz By Anton Diabelli, Op.120: XIV. Grave E Maestoso
Vars On A Waltz By Anton Diabelli, Op.120: XV. Presto Scherzando
Vars On A Waltz By Anton Diabelli, Op.120: XVI. Allegro
Vars On A Waltz By Anton Diabelli, Op.120: XVII. (Allegro)
Vars On A Waltz By Anton Diabelli, Op.120: XVIII. Moderato
Vars On A Waltz By Anton Diabelli, Op.120: XIX. Presto
Vars On A Waltz By Anton Diabelli, Op.120: XX. Andante
Vars On A Waltz By Anton Diabelli, Op.120: XXI. Allegro Con Brio; Meno Allegro
Vars On A Waltz By Anton Diabelli, Op.120: XXII. Molto Allegro (Alla 'Notte E Giorno Faticar'...)
Vars On A Waltz By Anton Diabelli, Op.120: XXIII. Assai Allegro
Vars On A Waltz By Anton Diabelli, Op.120: XXIV. Fughetta: Andante
Vars On A Waltz By Anton Diabelli, Op.120: XXV. Allegro
Vars On A Waltz By Anton Diabelli, Op.120: XXVI. (Piacevole)
Vars On A Waltz By Anton Diabelli, Op.120: XXVII. Vivace
Vars On A Waltz By Anton Diabelli, Op.120: XXVIII. Allegro
Vars On A Waltz By Anton Diabelli, Op.120: XXIX. Adagio, Ma Non Troppo
Vars On A Waltz By Anton Diabelli, Op.120: XXX. Andante, Sempre Cantabile
Vars On A Waltz By Anton Diabelli, Op.120: XXXI. Largo, Molto Espressivo
Vars On A Waltz By Anton Diabelli, Op.120: XXXII. Fuga: Allegro
Vars On A Waltz By Anton Diabelli, Op.120: XXXIII. Tempo Di Minuetto, Moderato

Customer Reviews:

sss'aight..........2005-07-02

I think this is Beethoven for purists. Kuerti plays very individually and humanly but not so cosmically. He doesn't play with much weight or fire behind him, but rather with finess and beauty instead.

The Analekta sound is decent but could be louder and deeper.

His renditions are more preferable to me than say Barenboim (DG), Ashkenazy or Goode's, but it's true that Kuerti's are very interesting and unique readings indeed.

The Best Since Schnabel..........2005-01-17

... and actually I listen to Anton even more often than to Artur. Others here have described Kuerti's playing. Let me describe how he speaks: like a human being. This is confessional Beethoven -- by turns virile, humorous, romantic and visionary -- but it is above all intimate, from Beethoven's heart to Kuerti's and then, I believe, to yours. There is nothing of the virtuoso about this musician. His fingers are first-class, but they preserve the sense of struggle so crucial to Beethoven's rhetoric. Czerny and Schindler described their master's own playing in terms that I think will come to mind when you hear these life-enhancing performances. Buy them before they disappear.

A performance of the highest artistry imaginable.......2003-11-01

Where to start? I purchased this set on the recommendation of the manager of the classical CD department at a local CD store. We chat often about CDs, and this particular day, the conversation turned to the Beethoven piano sonatas, and he told me "You have to try this set. It's not like anything you've ever heard." Intrigued, I gave it a try.

Upon getting home to listen, I chose a familiar middle-period sonata to get my bearings - I chose the Apassionata. Within the first minute of the first movement I was transfixed in enjoyment and amazement. There are so many great performances of this piece, but this was indeed different from anything I had ever heard. I kept waiting for the usual problems I hear in most performances. Minor problems for sure, but always there nonetheless, such as too much pause after a phrase, or a tendency towards becoming mechanical and clangorous in the dense sections. But it never happened. The piece just kept pouring out with the most intricate passages seeming to stand still before me. To me, the performance seemed to transcend the usual adjectives one hears in reference to the Beethoven sonatas, such as "warm" and "lyrical" on one hand, or "granite-like" on the other. Rather it was as if all artificial coloration had been stripped away, and what was left was pure music, the perfect expression of the soul of the music. Kuerti plays from an utterly centered place, from which he uses supernatural control of articulation, dynamics, phrasing, to bring out music that is crystal clear and beyond words.

My next stop was the last movement of the Hammerklavier - the fugue. The Hammerklavier is one of my favorite pieces of music in the entire literature, but not the last movement in particular, because I'd never heard it performed well. I've only heard it in performances that are too harsh to enjoy. I've always felt there was a way to play it right - to bring it out correctly, but that I'd never heard a performance that achieved this. From the opening bars, my jaw dropped at Kuerti's performance. This movement opens with a number of short "episodes" before the main fugue is joined. These episodes usally sound like a "warmup" before the artist gets to the main show. In Kuerti's hands I was immediately transported to another world. There was a spirituality and profound peace that was palpable. It felt like Beethoven was in the room with me and Kuerti. (More on what I mean by this at the end!)

This experience of Kuerti's interpretations completely transcending anything I've previously heard was repeated again and again. Case in point - the Diabelli Variations. I purchased Pollini's CD a while back with high hopes. But I listened only once, and it has not come off the shelf since. But just a few minutes of Kuerti's performance, and I was entranced and immensly enjoying the music.

Everything in this set is a revelation! The feeling I get time and again when listening to these performances, especially the late sonatas, is that Beethoven is in the room. It's not that Kuerti disappears, and I hear Beethoven playing. It's more a feeling of Kuerti playing, me listening, and Beethoven is in the room, standing next to the piano, head bowed in concentration, smiling to himself, thinking that "this, finally, is right - this is how I meant it."

To me, these are performances of the highest artistry imagineable. If you love Beethoven's piano sonatas, and you're always searching for something more than what you've heard, you owe it to yourself to hear these performances!

Kuerti - Plays Beethoven Sonatas with Rare Fantasy & Fire.......2002-08-07

If you are a devoted fan of the Beethoven piano sonatas, these Kuerti performances of all 32 will go right to the top of your wish list. Because he has played mostly in Canada for the past several decades, perhaps Anton Kuerti is less well-known than the other big names you can get in the USA who play this repertoire. No matter, because Mr. Kuerti brings his own brand of rhythmic joi de vivre to LvB. Here is a recording whose perennially fresh sort of vital energy seems nourished by deep, probing roots into the rational-yet-mystical ways of some Unseen Whole. Each round of repeat play of these CD's will only further convince you of Mr. Kuerti's uncommon intelligence & magisterial musicality. Keen observors will be quick to note that Mr. K has also done the complete piano concertos, a top-drawer companion set, even in a distinguished and crowded field of worthy alternatives. Mr. K's Beethoven combines a lean, muscular tone with a swiftness of inflected rhythm, all balanced in a seemingly effortless manner with a singing line that shapes musical phrases to winning lyrical or dramatic effect. Some listeners may fault him for not having the luscious, bottomless tone of say, Claudio Arrau, or the careening wild bacchante spirit occasionally displayed by the likes of Martha Argerich. No doubt, others may play Beethoven, equally well though differently. Still the listener who forgoes Kuerti is depriving him or herself of performances which sparkle, radiate warmth, and ever remind us that Beethoven was a ready enough, rough wit; and a committed humanist (in the Enlightenment sense of those words); as well as a grand master. Can you ask a recorded performance to do more? These are highly recommended, well nigh indispensable performances.

A real discovery.......2000-08-28

Kuerti's complete set of Beethoven sonatas is extraordinary. Very powerful in the dramatic passages, without ever becoming loud or shrill, with a wonderful control of the tempi. Brilliant sforzati, remarkable use of agogics (is this the word? English is not my mother tongue). Kuerti also never neglects the playful and (in his wonderful comprehensive notes on the sonatas) makes you aware of how much humour there is to be found in many of them. The lyrical passages are also remarkable, with the only reservation that some of the slow movements are altogether too slow. I'm sure that, played like this, they are wonderful in the concert hall but on CD Kuerti asks much of his listeners in terms of concentration. But all in all the playing is difficult to surpass. I go back to these recordings time and again, full of admiration. The sound, by the way, is at times a bit on the dry side but it brings out the nuances of Kuerti's masterful playing much better than many of the later digital recordings whose sound is not only too harsh but also electronically blown up.

Great Pianists of the 20th Century: The Complete Edition

Average customer rating:

Wonderful set
Don't buy the whole thing
Not Insane
insane
For the real music lover

Great Pianists of the 20th Century: The Complete Edition
Great Pianists of the Twentieth Century
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00002EITP
Release Date: 1999-10-26

Customer Reviews:

Wonderful set.......2004-10-24

This set is for serious piano fans, not for the ones who just start building up a CD library. I sort of agree with one of the reviewers, that there are many repetitions. But if you love piano, you wish to hear the same piece in different interpretations. Indeed, I really like this feature of this set: I can compare the style of various performers.
If you are into piano music, I encourage you to grab this set, if you can find it used (not available anymore at Amazon). I also hope, that there will be a continuation, in which other great pianists, who were left out because of the space limitation, will be included (Prokofiev, Bartok, Dohnanyi, etc).

Don't buy the whole thing.......2001-07-08

I've put a lot of thought into constructing my own piano library, and unless you can easily afford the present set, I would recommend a different approach to collecting piano music. This set emphasizes the piano player rather than the piano composer. Of course both are important. For example, the "Barcarolle" appears in this set EIGHT times. I'm sorry, although I love the piece, if I am going to spend [the money], I would prefer more variety. Where are the Alkan, Medtner, and Szymanawski compositions represented in this set? I appreciate having so many interpretations of the same pieces, but I would also appreciate more exposure to pieces not so popular. The selection by Philips which I consider a somewhat popular selection suggests to me that when Philips constructed this set, they realized most people would be buying the disks separately, and this affected the selection. And it's not just that obscure composers are left out, but also if one spends so much money on piano recordings, you'd think you'd want to buy pieces from a composer in completeness. For example, an alternative way to construct a library would be to combine purchases of complete cycles, e.g. complete Beethoven sonatas, complete Scriabin preludes, etc., along with outstanding recordings of more particular pieces. I'm not sure why someone would want to concentrate so much on so many famous artists, instead of acquiring complete sets of compositions. For me the composer is more important, or at least, if I am going to spend [the money]on piano recordings, I'd prefer more complete, rather than snapshot, exposure to the composers.

Not Insane.......2001-01-02

I had to write this review, as I am enthralled with this set. I have been going through it in order having already purchased a few individual units from the collection earlier. I am not sure what `insane' was talking about as there is NO repetition. Sure some pianists perform the same pieces, isn't that what they did in reality? The idea is to appreciate the different nuances and approaches taken by these artists. You will then enjoy these pieces from a better vantage.

It is a large ambitious contribution to the art of great piano playing. It is a labor of love and represents a tremendous amount of research and cooperation between many record companies. Rather then representing insanity, it is a resource to treasure.

Yes experts can quibble over who was left out, and what performances were inserted. I do not think such a massive undertaking could have been accomplished without someone being able to find faults. Overall however, unless you already have a monumental collection, (it would have to be almost legendary), this incredible set will give you a rewarding look into 74 of the greatest pianist of all time. You will come away with a honed sense of appreciation for your likes and dislikes. You will undoubtedly become someone who will search out recordings and be able to enjoy them for the rest of your life with a refined ear.

The only negative is this price. I would shop around, as it is daunting to spend 2 thousand dollars on such a collection. Of course you do get 200 CD's. However, the used collections might be good to consider.

Enjoy these masterpieces. I am not ashamed of owning this music as `insane' implies. I am proud to have enriched my life.

insane.......2000-10-12

This is not a good library of piano music. The reason is, there is too much repetition. I'm not saying the series is bad. The series is wonderful. But this collection as a whole is a bad libary. For the same money you could collect together (with more effort) an incredible libary of piano music. There are so many wonderful cd's out there, this is just a waste of money. If you can actually afford to spend 2 grand on piano music, then either (1) spend the time and do some research to get a good library of piano music, which will probably include some selections from this collection, or (2) hire someone to do that for you. Personally I would be embarrassed to own this whole collection, since that shows I have put little thought into my purchases of piano music.

For the real music lover.......2000-03-12

This series attempts to present important and representative performances by most of the major pianists of the 20th century. One might quibble a bit with the choices, but the works presented are of consistently high quality, and often do represent what may be the best works of a performer. Since this covers most of the time that recorded music existed, some of the recordings are technically challenged, as there is only so much one can do to enhance an old recording. Still, these appear to have been treated with love and respect in their restorations. Since this series is so large (and expensive!) one is tempted to "cherry pick" through the series, yet by doing so one can easily overlook gems by artists one is less familiar with. This large a set must inevitably have many versions of the same pieces, and takes many hours to listen to. The true enthusiast will appreciate the differences in interpretation, whereas the less experienced listener may find the set repetitive and overwhelming. If one has the time to really dig into this set, it can provide years of exploration and discovery. It would make a wonderful gift for some special music lover in your life ... or for yourself!