Alfred Brendel 3

Editorial Reviews
Amazon.com
Renaissance man Alfred Brendel remains one of the indisputable keyboard giants of the last several decades, and many a music lover has grown up with his Beethoven or Schubert as a point of departure. Though routinely depicted as an archetype of the modern pianist as predominantly analytical and heavily "cerebral" (albeit in a sense somewhat different from that of Maurizio Pollini), Brendel shouldn't be boxed into such easy categories--and much of the artistry represented on his third volume in the Philips series is a case in point. To be sure, Brendel's impressive intellectual candlepower is in ample evidence. Whether it's the richly figured "Variations sérieuses" of Mendelssohn or his invaluable Brahms First Piano Concerto (from 1986)--in fantastic sympathy with Abbado's Berliners--you can almost hear the process of thought translating into feeling in Brendel's phrasing. But there's also a corresponding passion, which grips you by the throat in the first movement of the Brahms and is breathtakingly beautiful in the second. Similarly, Brendel's Chopin (the F-sharp minor Polonaise here) may not seem as outright "poetic" as a more sentimental taste would dictate, but the sinewy, steely sense of structure he builds up conveys a sensuous energy as well. That's above all the case with the Liszt excerpts occupying most of disc 2. Brendel's strong associations with the Hungarian composer go beyond reclaiming a misunderstood talent; though accused at times of "overdoing" Liszt in the sense of taking him too seriously, Brendel actually revels in the gorgeous fabrics of sound from the Années de pèlerinage numbers and somehow balances the muscle-flexing virtuosity of Totentanz with a respect for its novel ideas-there's both surface and substance here. In fact, Brendel can leave you downright giddy with the coruscating peroration of his Hungarian Rhapsody No. 15. The enigmatic, labyrinthine Toccata of the Lisztian heir Ferrucio Busoni makes a perfect envoi, a study in self-reflexive high jinks but one deeply wed to the sensual sonorities of the keyboard. --Thomas May

Alfred Brendel 3, Music, Johannes Brahms, Ferruccio Busoni, Fryderyk Chopin, Franz Liszt, Felix Mendelssohn, Carl Maria von Weber, Bernard Haitink, Claudio Abbado, Berliner Philharmoniker Chor, London Philharmonic Orchestra, London Symphony Orchestra, Alfred Brendel, Bagatelle for Keyboard, Chamber Music & Recitals, Character/Single-Movement/Miscellaneous Work for Keyboard, Classical, Classical Artists, Classical Music, Concerto, Elegy for Keyboard, Keyboard, Piano Concerto, Polonaise for Keyboard, Rhapsody for Keyboard, Romantic Variations for Keyboard, Toccata for Keyboard

Schubert: The Complete Impromptus
Average customer rating:

Super Chamber Music

Great Schubert, but add some schmaltz please!

Brendel displaying his greatness

little music

Good. But...just good.

Schubert: The Complete Impromptus
Franz Schubert , and Alfred Brendel
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Schubert: The Piano Sonatas

Schubert: Impromptus For Piano

Franz Schubert: Complete Trios

Schubert: 8 Symphonies

Brahms: Works for Solo Piano

ASIN: B0000041MS
Release Date: 1997-03-11

Tracks:

Impromptus, D.899: No. 1 In C Minor
Impromptus, D.899: No. 2 In E-Flat
Impromptus, D.899: No. 1 In G-Flat
Impromptus, D.899: No. 4 In A-Flat
Impromptus. D.935: No. 1 In F Minor
Impromptus. D.935: No. 2 In A-Flat
Impromptus. D.935: No. 3 In B-Flat
Impromptus. D.935: No. 3 In B-Flat
16 German Dances, D.783: Deutsche Tanze - Danses allemandes

Tracks:

3 Klavierstucke (Impropmtus), D. 946: No. 1 In E-Flat Minor
3 Klavierstucke (Impropmtus), D. 946: No. 2 In E-Flat
3 Klavierstucke (Impropmtus), D. 946: No. 3 In C Major
6 Moments Musicaux, D. 780: No. 1 in C - Moderato
6 Moments Musicaux, D. 780: No.2 In A-Flat - Andantino
6 Moments Musicaux, D. 780: No. 3 - In F Minor - Allegro moderato
6 Moments Musicaux, D. 780: No. 4 In C-Sharp Minor - Moderato
6 Moments Musicaux, D. 780: No. 5 In F Minor - Allegro vivace
6 Moments Musicaux, D. 780: No. 6 In A-Flat - Allegretto
12 German Dances, D. 790: Deutsche Tanze - Danses Allemandes

Customer Reviews:

Super Chamber Music.......2007-05-31

As I was listening to this while gardening, I forgot for a moment that I was listening to Schubert, and thought 'My, what good Chopin this is!'. Well, I caught myself and realized my little slip revealed the fact that even though solo piano may not have been Schubert's strongest suit, he still managed to do it as well or better than the great classic Mr. Piano Man himself. This is an excellent bargain package with two CD's for the price of one and a complete set of a major composer's genre. I'm not a student of piano style, but Alfred Brendel seems to realize these in a better than workmanlike fashion. He may not be Murray Perahia, but he's no slouch.

Great Schubert, but add some schmaltz please!.......2007-03-18

I was greatly disappointed with my reaction to these CDs. There is nothing specific that I can say against the CDs, but....I was completely and totally uninvolved. I tried multiple listening, but it did not help. I was standing outside the music, and was examining it like I would an ant under the microscope. I know it is not my reaction to Schubert's impromptus, simply because I just adored them when I heard them performed by Krystian Zimerman.
The only thing I figured out is that Mr. Brendel was just too elegant and detached here for my taste. To use a metaphor, he was as elegant as a black cocktail dress, while a dress with some frills, colors, lace, and something soft would have been more appropriate here, I felt. In my view, even some schmaltz would be welcome here.
I guess it all depends on how you would be affected by this CD, so I do encourage you to try it!

Brendel displaying his greatness.......2007-02-05

I've always heard Brendel was a great interpreter of Beethoven, but have not heard his recordings before this work of Schubert. Brendel is an amazing pianist, and Schubert an inspiring composer. Some say this work by Brendel doesn't bring out the fullness of Schubert, but if this isn't one of the best recordings of Schubert, I'll eat my hat.

little music.......2007-01-02

Franz Schubert's piano impromptus are not big music.

Not only are the pieces relatively brief, but the absence of instruments other than solo piano and the evasion of bombast by Schubert altogether make these compositions small music.

But small is beautiful.

Alfred Brendel is at his understated best in his mastery of this genre. Lovers of the keyboard already know that Brendel can flow with Beethovian grandeur together with the best of them. He approaches Schubert's Impromptus, Deutsche Tanze, and Moment Musicaux as an artist with nothing to prove. The result is a pure reading of Schubert that leaves one savoring the music rather than the performer. That's a nice result that credits rather than demeans the pianist.

The Philips Classic ('Duo') series is at its usual peak form for quality, price, and therefore value.

Good. But...just good........2005-12-21

Schubert is my favourite composer, and I regard the impromptus as one of the most aesthetically pleasing of his piano works. I personally have played the D.899 pieces, and I find them very simple to play, they are not by any means technically demanding. But to play them well is in fact extremely difficult.

Control of speed and pressure on the keys is critical in every piece, especially no.3 and no.4 in D.899.

With that said, Brendel's playing is very straightforward and textbook to the very core essentials. The playing is very clean, and his tempo is well under control. However, that's where it ends, as he doesn't bring the liveliness into these works of beauty. Schubert sounds nothing more than a . If you want the music itself without any passion, then this is the album to get. Sound quality is excellent.

The best schubert impromptus I have heard thus far is from Murray Perahia and Radu Lupu. Of the two, I prefer Murray Perahia's. His playing really defines Schubert as a composer - the emotional output is all there, in every note, every phrase. There is not a single part in any of the impromptus where it can be considered dull. Listen to his recording and you will see what I mean. Radu Lupu tends to put more emphasis on the lyrical qualities of these pieces by using strong vibrato. If you really want something out of this world, then try Mitsuko Uchida's version, which is the complete opposite of Brendel, with erratic playing (much like her own personality).

-Sail

Average customer rating:

Academic and expressive
Not first tier, but pretty decent nonetheless
A Warmer, More Expressive Brendel
Brendel & Levine - great performance
A first rate performance much preferable to his later work

Beethoven: The Five Piano Concertos

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Mozart: The Great Piano Concertos, Vol. 2
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Mozart: The Great Piano Concertos, Vol. 1
Beethoven: Complete Piano Sonatas
Beethoven: Variations & Vignettes

ASIN: B0000041MN
Release Date: 1997-07-15

Tracks:

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

Tracks:

Piano Concerto No. 3 In C Minor, Op. 37: I. Allegro con brio
Piano Concerto No. 3 In C Minor, Op. 37: II. Largo
Piano Concerto No. 3 In C Minor, Op. 37: III. Rondo: Allegro
Piano Concerto No. 4 In G, Op. 58: I. Allegro moderato
Piano Concerto No. 4 In G, Op. 58: II. Andante con moto
Piano Concerto No. 4 In G, Op. 58: III. Rondo: Vivace

Tracks:

Piano Concert No. 5 In E-Flat, Op. 73 'The Emperor': I. Allegro
Piano Concert No. 5 In E-Flat, Op. 73 'The Emperor': II. Adagio un poco mosso
Piano Concert No. 5 In E-Flat, Op. 73 'The Emperor': III. Rondo: Allegro

Amazon.com

Recorded live in 1983, Alfred Brendel's third go-round with these works drastically improves on his previous Beethoven concerto cycles. He finds a calmer, more direct route to the Emperor Concerto, although the Fourth's first movement is still pock-marked with finicky phrase adjustments that pull focus from the music's poetic arcs. Levine provides sympathetic and alert support, yet is much more than a mere deferential accompanist. --Jed Distler

Customer Reviews:

Academic and expressive.......2005-05-31

Alfred Brendel is probably the most knowledgeable Beethoven interpreter that we have seen in the past half century along with Richard Goode. It also helps that he is a phenomenal pianist and chamber musician. When listening to these performances I got a sense of a warmer more intimate ideal for the works, not everywhere, it was as soloistic as these need to be, but the connection between melody and accompaniment was very well balanced right on par with Fleisher and Szell. Levine gives the music everything it needs and the Chicago Symphony plays wonderfully. The live recording gives these works a wonderful atmosphere and the audience is reverently silent. If you want to seek out individual performances of these concertos by all means do it but for a box set of them all I would recommend this as well as his more recent with Rattle, as well as Fleisher and Arrau. All of them are wonderful however this is by far the best live recording of these works. Highly recommended

Not first tier, but pretty decent nonetheless.......2003-10-24

Echoing another reviewer, I don't believe Brendel's third go-round with the Beethoven concerto cycle is on a par with Arrau or Ashkenazy, but it is by far Brendel's best effort, demonstrating lyricism that, unfortunately, one cannot always depend on. It is a worthy addition to the serious music lover's collection, although I would not want to make it my only resource for the Beethoven concerti.

A Warmer, More Expressive Brendel.......2001-04-04

Alfred Brendel doesn't come across as a meticulous craftsman, but instead, as a lyrical, joyful interpreter of Beethoven in this version of Beethoven's piano concerto cycle which he recorded with James Levine and the Chicago Symphony Orchestra at the CSO's Ravinia Festival in the early 1980's. While this won't replace my recordings of Arrau, Perahia, Kovacevich or Ashkenazy performing these concerti, Brendel's third traversal is one of the best performed - and recorded - versions currently available. His warm, expressive playing reaches its peak in the last two concerti. Both Levine and the CSO are admirable, sympathetic accompanists. If you are looking for your first set of Beethoven piano concertos or your latest, then you certainly won't go wrong with these fine performances.

Brendel & Levine - great performance.......2000-07-27

Quite simply, Brendel & Levine create one of the most emotionally rewarding performances of the Beethoven piano concertos - especially the 4th concerto.

A first rate performance much preferable to his later work.......1999-03-31

In this release, Brendel again ventures - or should I say, ventured (back in 1983)? - forth on well-trodden ground, but his performance is defeinitely the best he has produced so far and much better than his recent live performances (BPO, VPO). It has a clarity and freshness that stands in sharp contrast to his later, more rigid and inflexilbe style. Levine and the CSO provide a perfect orchestral foil for his playing. The range and quality of sound are impeccable as well. (Wolfgang, from Vienna, Austria)

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:

this version is quite good
Very good performances that just don't catch fire
A Fine Musical Partnership Falls Short
Never quite catches on fire
What a let down

Beethoven: The 5 Piano Concertos

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Beethoven: Complete Symphonies; Sir Simon Rattle/Vienna Philharmonic
Beethoven: Complete Piano Sonatas
Brahms: Piano Concerto No. 2
Beethoven: Complete Works for Piano & Cello
Beethoven: The Complete Sonatas

ASIN: B00000IIX1
Release Date: 1999-04-06

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. 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: 6. Rondo: Vivace

Tracks:

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
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

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 ma non troppo

Amazon.com essential recording

Though some musicians rerecord the same repertoire, refining the same concept over time, Alfred Brendel's Beethoven concertos change significantly with every go-around. One of the defining influences in this latest go-around is conductor Simon Rattle. He's one of the stronger minded and truly collaborative conductors that Brendel has ever had, and his bent toward historically informed performance inspires the pianist to a radical reevaluation, resulting in interpretations that achieve a new level of cogency over his previous take. Phrases have an even greater sense of purpose and direction than ever before, forming tiny, mosaic-like entities within the music, often accompanied by something rarely heard from Brendel: rubato. At his considerable best, Brendel's playing has a great sense of inevitability amid the surprises that always come with a great musical mind approaching the music afresh. The only letdown here is the "Emperor" concerto. Although excellent, the reading is just a tad conventional. If you'd like to delve deeper into Beethoven's concertos, you'll enjoy Leon Plantinga's thorough study of all the composer's essays in the genre. --David Patrick Stearns

Customer Reviews:

this version is quite good.......2004-02-10

I think Brendel's Beethoven's piano sonatas are not so good. too cold,too light and not quite logical.
But here when he play the concertos with Rattel, all the things have changed, with the help of Rattel, Brendel has made a quite good concertos, quite natural.

Very good performances that just don't catch fire.......2001-09-23

Alfred Brendel has recorded Beethoven's piano concertos numerous times, each time with successful results, so it might be a question to many why he did it again. Look at his co-performers. The Vienna Philharmonic, one of the great Beethoven orchestras, and conductor Simon Rattle, possibly the most desired conductor in the world today. While just the names of this combination is enough to send tingles of euphoria up the spines of true Beethoven fans, this latest take on the 5 concerti simply doesn't have the spark and vigor of Beethoven's Chicago/Levine recording of '83. It's true, Alfred Brendel has refined the concept of Beethoven's concerti to a virtual science, and over the years has taken the position as probably the premier interpreter of the great composer's piano music. And as usual, Brendel's playing captures the thoughtfulness and sensitivity that so few pianists have matched in Beethoven concerti recording history. They don't manage to convey the exhilleration and fire though that his live Chicago recordings though, and the first concerto lacks the youthfulness and vigor that is usually associated with Brendel. On the Vienna Philharmonic though, this is absolutely not the case. The playing throughout is perfunctory and cold, and while marvelously accurate, detailed and crisp, is perhaps, bloodless. You can almost see this orchestra of great virtuosos playing while thinking "God, we have to record this again?"(for a great orchestra, check out the Staaskapelle Dresden in the Arrau/Colin Davis recording). Simon Rattle does a decent job, but some of the little things he does make no sense at all. For example: in the finale of the 1st concerto, the violin articulation is bland and uninsired, and the soaring melodies in the 1st movement of the Emperor are downplayed and seem strangely compressed (perhaps this has to do with the recording). The third concerto though is excellent, and the mystical quality of the third movement is done tremendously. Brendel and Rattle are clearly on the same page throughout all the concerti, and its obvious a great deal of work and collaborative studying of Beethoven's scores went into these performances. Though these recordings are quite good, but just don't seem to catch fire, they are still recommended, especially for Alfred Brendel fans.

A Fine Musical Partnership Falls Short.......2001-07-28

Without a doubt, in Simon Rattle, Alfred Brendel found his most engaging, truly colllaborative, partner in his latest - and probably last - traversal of Beethoven's piano concerto cycle. However, the results fall far short of miraculous. Most of the playing is technically perfect, but lacks the passion I've heard from the likes of Kempff, Arrau and Kovacevich. Brendel's best performed piano concerto is the Second (Not surprising since this is the Beethoven concerto which is closest stylistically to Mozart's - and Brendel is noted as a first rate interpreter of Mozart's piano music.); the weakest are the First and Fifth. Much to my amazement I expected better from Brendel since I have enjoyed his previous accounts of the 5th "Emperor" Concerto with Haitink conducting the London Philharmonic and Levine conducted the Chicago Symphony, yet his latest version sounds rather lame by comparison. As a conductor, Rattle seems more engaged than either Haitink or Levine was with Beethoven's scores, and the Vienna Philharmonic Orchestra's performances are absolutely first rate (However, the sound quality isn't as good as what you'd expect from the latest generation digital recording.). Those wishing to hear exceptional performances of all of Beethoven's piano concerti played by one soloist have only six or seven alternatives to consider: Arrau as soloist with Haitink conducting the Concertgebouw Orchestra, or Arrau's last traversal with Davis conducting the Dresden Staatskapelle (Of the two, I'd give the edge to the Davis/Dresden Staatskapelle cycle.), Kovacevich and Davis conducting the BBC Symphony and London Symphony orchestras, and Kempff with Leitner conducting the Berlin Philharmonic. As a possible fifth choice, I would also strongly endorse Ashkenazy as soloist with Solti conducting the Chicago Symphony. Most of these recordings should still be available on the Philips, Deutsche Grammophon and Decca labels. The finest recorded versions of the Beethoven piano concerto cycle are from Sony and Teldec, with Haitink conducting both versions. Either one is as fine as the others I mentioned; the Sony cycle has Perahia as soloist accompanied by the Concertgebouw Orchestra, while the Teldec cycle has Schiff accompanied by the Dresden Staatskapelle.

Never quite catches on fire.......2001-06-21

I was tremendously excited when I heard this set, recorded live, was in the pipeline, but actually listening to it left me somewhat disappointed. On paper, the lineup looks just about perfect: a great orchestra, one of the world's most exciting conductors, and *the* best Beethoven pianist alive. Yet the combination never quite catches fire like it's always promising to. The fact is, Rattle -- whose deeply probing musical mind has made many an old warhorse into a fresh new stallion -- doesn't seem quite at home in the Beethoven concertos. Brendel -- whose intelligence, virtuosity and mordant appreciation of wit eminently suits him to old Ludwig -- plays wonderfully, but in the end his earlier (studio) recordings of the works with Haitink are even finer and I'd recommend them over this newer set. This is surely a complete cycle of the piano concertos that has much fine playing and is extremely listenable. Perhaps it's unfair to expect more than that -- but I was.

What a let down.......2001-04-09

I think I might be better off with Brendel's first try on Vox, scrappy orchestras, sound and all.

Beethoven's music is miraculous--especially the piano concerti. There is a lot of magic to mine in the 4th, melodies and majesty in the 5th, charm in 1 (LvB charming??), etc.

What do I have here: Rattle and the VPO and Brendel. What should have been a dream version is marked by not that great sound for something recorded in the easy venues of the VPO, pedestrian conducting (AAACK! Rattle pedestrian? What's with THAT?), and piano playing that is fully competent, with some nice touches, but lacks total freshness. That also describes the VPO's contribution. Perfunctory. Give me scrappy playing an poor sound any day if you can play it with freshness. Delight. SOMETHING.

How frustrating. I still don't have THE set of LvB piano concerti. Ashkenazy with Solti and Chicago (NOT Cleveland. What a bore that mess was) is closest, although I'm still not in love with the engineering (seems chilly, and sometimes downright harsh). At least in that set, you have the fire of Solti to goose Ashkenazy.

Tracks:

I: Allegro Vivace Assai
II: Menuetto & Trio: Allegro
III: Andante Cantabile
IV: Molto Allegro
I: Allegro Moderato
II: Andante
III: Menuetto & Trio: Allegretto
IV: Allegro Ma Non Troppo

Tracks:

I: Allegro Vivace Assai
II: Menuetto & Trio: Moderato
III: Adagio
IV: Allegro Assai
I: Allegro Ma Non Troppo
II: Andante Con Moto
III: Menuetto & Trio: Allegretto
IV: Allegro Vivace

Tracks:

I: Allegro
II: Menuetto & Trio
III: Andante
IV: Allegro
I: Adagio - Allegro
II: Andante Cantabile
III: Menuetto & Trio: Allegro
IV: Allegro

Tracks:

I: Allegretto
II: Menuetto & Trio: Allegretto
III: Adagio
IV: Molto Allegro
I: Allegretto
II: Andante
III: Menuetto & Trio: Allegretto
IV: Allegretto

Tracks:

I: Allegro
II: Larghetto
III: Menuetto & Trio: Moderato
IV: Allegro Assai
I: Allegro Moderato
II: Andante
III: Menuetto & Trio: Allegretto
IV: Allegro

Tracks:

I: Allegro
II: Andante
III: Menuetto & Trio: Allegretto
IV: Allegro
I: Allegro
II: Menuetto & Trio: Allegretto
III: Adagio Ma Non Troppo
IV: Adagio - Allegro

Tracks:

I: Allegro - Alfred Brendel
II: Andante - Alfred Brendel
III: Allegretto - Alfred Brendel
I: Allegro - Alfred Brendel
II: Larghetto - Alfred Brendel
III: Allegretto - Alfred Brendel

Customer Reviews:

This is a great deal for chamber music lovers~.......2004-02-20

What a bargain! And such excellent performances! EMI has re-issued all the digital recordings of Mozart chamber music that ABQ has done under this label in this low-priced boxed set. This set includes the famous "Haydn" quartets, the "Hoffmeister" quartet, and the String Quintets K515 and K516, all of which are some of the best chamber music written by the composer. Also included are two live performances of the somewhat less well-know Piano Quintet version of Piano Concerto no.12 that Mozart himself arranged, and Piano Quartet K493. The pianist in these recordings is Alfred Brendel who is known for his interpretation of Mozart. Simply put, lovers of chamber music should rush out and get these recordings without hesitation. This is indeed a great deal!

Liszt: Annees de pelerinage, Years 1 - 3

Average customer rating:

A divine pilgrimage
I can tell this will become one of my favorite CDs
Excellent Kocsis, Forget the Brendel
Excellent Kocsis, Forget the Brendel
An abomination!

Liszt: Annees de pelerinage, Years 1 - 3

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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

Franz Liszt: Années De Pèlerinage
Liszt: The Complete Etudes
Liszt: Piano Works
Liszt: Favourite Piano Works
Mendelssohn: Songs Without Words, etc.

ASIN: B00000HY8L
Release Date: 1999-01-12

Tracks:

Premiere annee: Suisse: 1. La Chapelle de Guillaume Tell
Premiere annee: Suisse: 2. Au lac de Wallenstadt
Premiere annee: Suisse: 3. Pastorale
Premiere annee: Suisse: 4. Au bord d'une source
Premiere annee: Suisse: 5. Orage
Premiere annee: Suisse: 6. Vallee d'Obermann
Premiere annee: Suisse: 7. Eglogue
Premiere annee: Suisse: 8. Le mal du pays
Premiere annee: Suisse: 9. Les cloches de Geneve
Deuxieme annee: Italie: 1. Sposalizio
Deuxieme annee: Italie: 2. Il penseroso
Deuxieme annee: Italie: 3. Canzonetta del Salvator Rosa
Deuxieme annee: Italie: 4. Sonetto 47 del Petrarca
Deuxieme annee: Italie: 5. Sonetto 104 del Petrarca
Deuxieme annee: Italie: 6. Sonetto 123 del Petrarca

Tracks:

Deuxieme annee: Italie: 7. Apres une lecture du Dante (Fantasia quasi Sonata)
Troisieme annee: 1. Angelus! (Priere aux anges gardiens)
Troisieme annee: 2. Aux cypres de la Villa d'Este, No 1 (Threnodie)
Troisieme annee: 3. Aux cypres de la Villa d'Este, No 2 (Threnodie)
Troisieme annee: 4. Les jeux d'eau a la Villa d'Este
Troisieme annee: 5. Sunt lacrymae rerum (En mode hongrois)
Troisieme annee: 6. Marche funebre (En memoire de Maximilien I)
Troisieme annee: 7. Sursum corda (Erhebet eure Herzen)

Customer Reviews:

A divine pilgrimage.......2003-07-31

The story of the Years of Pilgrimage is very interesting in itself, let alone the music. The first year, Switzerland, is my favorite, and Brendel executes it beautifully. The Switzerland Liszt presents to us is loaded with thunderstorms (orage), springs (Au bord d'une source), lakes (Au lac de Wallenstadt), bells (Le cloches de Geneve), and other beautiful settings and objects. The roaring octaves of the "orage" was a great virtuosic treat. The most famous (and longest) piece by far in the first year is the Vallee d'Obermann, whose harmonies are incredibly beautiful.

The second year is really the cultural aspect of Italy. (no settings or anything like that) This year deals with Raphael, Michelangelo, Salvator Rosa, Petrarch, and lastly, (but very certainly not least) Dante. Brendel's Dante was hellish and divine. The Dante Fantasy suprised me when I first heard it, because I thought the piece would start with this picture in your mind of Dante roaming around in a very bitter woods, but it did not for me. Many times in the hellish sections of this piece it turns into major, which startled me because I though the part that depicted hell would be all in minor, but for a lot of the time it was not. Many times you could find out when it was heaven, sometimes with purgatory too. But most of the dante sonata summarizes the whole divine commedy altogether, and what Dante saw, learned, and how much wisdom he gained.The end of this piece is truly captivating, and like I said, the ending doesnt seem exactly heavenly, but rather, a sense of knowing Heaven, purgatory, and hell.

The third year is a later work of Franz Liszt, and is very interestng. Zoltan Kocsis takes up the feat of learning this year, and succeeds. All I knew of Zoltan Kocsis was his Bartok, so this was a wonderful surprise. Mostly what I knew of Franz Liszt's later music was his "Bagatelle Without Tonality", and nuage gris, so this suprised me. Angels, a funeral march, crying, ect. are depicted in the third year. The whole set of the years of pilgrimage concludes with the very interesting title "Lift up your Hearts", what probably says that when Liszt was in sixties and composing this, he knew (for a long time already) that life on this earth is not so bad if there are places like Switzerland and Italy, and if there are people on this wonderful earth who inspire others.

I can tell this will become one of my favorite CDs.......2003-01-18

Having played these three books of "Annees de Pelerinage" myself, and having written a thesis on them, I know these three "Annees" inside and out. I've also heard some incredibly BAD performances of some of these pieces (in particular, the "Dante" Sonata) and as such, I have "shields up" around me when I hear recitals or recordings with these pieces on them.

If you are like "Music Fan" from Clicksville, Kentucky, and you like your Liszt played with as much bombast and pyrotechnics as possible, you probably won't like these recordings. (These are also the kinds of recitals and recordings I do my best to avoid.)

If, on the other hand, you like your Liszt played with some restraint and with utmost sensitivity to the composer's musical intent -- you'll probably love these performances!

I, for one, have long since tired of hearing Liszt pounded out on a piano by technicians who are intent solely on making his pieces look - and sound - as difficult as possible, with next to no attention to the musicality behind the pyrotechnics. Liszt is all too often played by these hacks as though the technique is the means AND the end - and the music suffers.

This is an altogether different kind of Liszt-playing - where the technique is a means to a definite musical end. It works. Brendel's "Suisse" is enchanting: I can't remember when I've heard "Au bord d'une source" and "Les cloches de Geneve" played so evocatively. "Spozalizio" (from "Italia") and the three Petrarch sonnets are utterly spellbinding.

The most amazing Brendel performance is "Apres une lecture du Dante" - a piece I've learned to hate because of the way pianists overplay the thing! Brendel handles this piece with enough restraint so that the real musicality of the piece shines through. Brendel makes by far the most convincing case for the "Dante Sonata" I've heard in a LONG time.

Equally good is the Kocsis "Troiseme Annee". I have played this Annee many times in recitals, yet Kocsis' performance gave me several new ideas, particularly in "Aux cypres de la Villa d'Este, No 1" and the quixotic "Marche funebre (En memoire de Maximilien I)". The "Marche funebre" is a challenging piece to hold together, musically; and even more challenging to pull off during performance. The Kocsis performance of this piece works better than anything I've heard (or performed).

I prefer a slower tempo and somewhat more restrained, "profound" concept in "Sursum Corda" - but Kocsis manages to pull off his ideas and make them work. It may not be my interpretation of the piece - but it's an interpretation which works, and I respect that.

These performances might not be everyone's cup of tea - but I can say for what I've heard, both in live performance and on recording - this is the most gratifying performance of the complete "Annees" I've yet heard. This is destined to become one of my favorites CDs.

Excellent Kocsis, Forget the Brendel.......2002-07-20

Now that, sadly enough, even his reference-quality Bartok and Debussy recordings no longer seem to be available in this country, this compilation disc remains a precious and rare chance to hear the marvellous pianism of the better of the two Hungarian virtuosos traversing the international concert circuit, Zoltan Kocsis (the other one being the vastly overrated Andras Schiff).

Kocsis's capabilities are boundless and he is easily one of the greatest talents of his generation, limited in his quest to fame only by his occasionally eccentric tastes and individual temperament. Here, however, in the strange, atmospheric piano pieces Liszt composed towards the end of his life, Kocsis is in his own element and makes these bleak and fascinating works sound like no one else would have a claim to them. The recording is altogether hypnotic and reveals the late Liszt as a master of the quasi-impressionistic short form, with an atmospheric piano sound to enhance the experience of these serene and oddly ecstatic pieces that reveal the world-weary face of the aging composer in search of a language for his resigned, retrospective state. Add to these performances the late pieces recorded live by Pollini in his own Liszt disc (including also a chilling version of the great B minor sonata, DG 427 322-2) and you have a full reference library for your dark existential moments. Very private, silencing and thought-provoking.

Brendel's weird tone production does not at all suit the exuberant first two books of the Annees from Liszt's younger years. Yet the five stars are more than well earned, thanks to Kocsis's impressive ability to faithfully reproduce the subtle interplay of ambiguous beauty and shadowy doubt so much in evidence in these works.

An otherwise good alternative recording of the third book, made in the analog years by Lazar Berman (DG, budget price) suffers from inferior sound quality - a big "but" in these ethereal and fragile pieces ideally suited for the well-balanced, close yet airy Philips recording that wonderfully captures all the nuances of Kocsis's spectacular piano playing.

Excellent Kocsis, Forget the Brendel.......2002-07-20

Kocsis's capabilities are boundless and he is easily one of the greatest talents of his generation, limited in his quest to fame only by his occasionally eccentric tastes and individual temperament. Here, however, in the strange, atmospheric piano pieces Liszt composed towards the end of his life, Kocsis is in his own element and makes these bleak and fascinating short works sound like no one else would have a claim to them. The recording is altogether hypnotic and reveals the late Liszt as a master of the quasi-impressionistic miniature form, with an atmospheric piano sound to enhance the experience of these serene and oddly ecstatic pieces that reveal the world-weary face of the aging composer in search of a language for his resigned, retrospective state. Add to these performances the late pieces recorded live by Pollini in his Liszt disc (including also a chilling B Minor Sonata, DG 427 322-2) and you have a full reference library for your dark existential moments. Silencing and thought-provoking.

An abomination!.......2001-01-01

This is perhaps the most affected, unnatural Liszt playing I have ever heard aside from Dieter Goldman's legendary performance of Funerailles (and at least that has a sense of humour). Brendel's tone is appallingly thin and unevocative, and his reading of Chapelle de Guillaume Tell lacks any of the sonorous chordal passages to be found, say, in Berman's interpretation. Au bord d'une source is worryingly neurotic, while Cloches de Geneve seems to have lost its "cloches" altogether. The Italian book is even worse. Brendel's response to the emotionalistic Petrarch Sonnets is altogether dry and uninviting, and his Dante Sonata comes nowhere near Sofronitsky's demonism and high moral stance. Vallee d'Obermann? As with Brendel's legendary Legende: oom-bah, oom-bah oom-bah, oom-bah.... After this display of heroic misunderstanding, Kocsis' playing should surely rise above his companion's. Sadly, my list of his qualities is forced into insignificance. Imagination, for instance, is not one of his strongpoints. Colour? Kocsis hasn't even heard of it. Jeux d'eau displays no religious ecstasy of any sort; Sursum corda is fairly boring; Cypres 2 is unutterably awful. Please, please, do not desecrate this music. By the way, a passing message to Philips: don't publish any Arrau after 1970, except if you enjoy it for comedy value.

Beethoven: Complete Piano Concertos (Alfred Brendel: Piano Concertos 1-5 w/Levine, CSO; "Choral" Fantasy, Op. 80 w/ Haitink, LPC, LPO)

Average customer rating:

Great performances
Brendel as his fans love him (but not everybody else)
Brilliant!
Excellent Recording
Applause - One More "No" Vote

Beethoven: Complete Piano Concertos (Alfred Brendel: Piano Concertos 1-5 w/Levine, CSO; "Choral" Fantasy, Op. 80 w/ Haitink, LPC, LPO)
Ludwig van Beethoven , Alfred Brendel , Chicago Symphony Orchestra , James Levine , Bernard Haitink , and London Philharmonic Choir and Orchestra
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Alfred Brendel Plays Beethoven, Vol. 4
Alfred Brendel Plays Beethoven Piano Sonatas, Vol. III
Alfred Brendel plays Beethoven Piano Sonatas, Vol. 1
Beethoven: The 5 Piano Concertos
Alfred Brendel Plays Beethoven Piano Sonatas, Vol. 2

ASIN: B000065TV4
Release Date: 2002-06-11

Tracks:

Allegro Con Brio
Largo
Rondo (Allegro Scherzando)
Allegro Con Brio
Adagio
Rondo (Molto Allegro)

Tracks:

Allegro Con Brio
Largo
Rondo. Allegro
Allegro Moderato
Andante Con Moto
Rondo (Vivace)

Tracks:

Allegro
Adagio Un Poco Mosso
Rondo (Allegro)
Adagio
Finale Allegro - Meno Allegro (Allegretto) - Allegro Molto - Adagio Ma Non Troppo - Marcia Assai Vivace
Allegro - Allegretto Ma Non Troppo Quasi Andante Con Moto - Presto

Customer Reviews:

Great performances.......2007-01-03

If you gave me a choice of any pianist playing these concertos, I'd take Pollini and Rubinstein. However, these recordings are a BIG part of any serious classical music library. Brendel, as always, offers top rate Beethoven interpretations and performances. I particularly enjoyed the second and third piano concertos.

Brendel as his fans love him (but not everybody else).......2006-10-29

I think the general acclaim given to this set of Beethoven concertos here on Amazon is atypical: the critical consensus isn't high for Brendel's 1983 set. Certainly he shows more interest in the later one with Rattle on EMI. If you love Brendel already, then his rather clipped, non-romantic way with these works will seem suitably classic. But of Beethoven the revolutionary there's not a scrap. Tempos are fast, and the mood is closer to Mozart than I like. Where's the blood and fire? Levine provides a sometimes impatient acccompaniment, and neither artist cares to pause over phrases that cry out for more depth. Add to this a fairly thin, pingy piano sound, and I'm afraid there are too many debits compared to the great performances by Gieseking, Edwin Fischer, Rudolf Serkin, Fleisher, Barenboim (with Klemperer on EMI), and many others.

Brilliant!.......2005-11-13

Yes, the set could have benefitted from te removal of the applause, however the performance itself is perfect. Brendel's playing is superb, however at times a bit mechanical. The recording quality however is excellent and makes it a must have set for an Beethoven lover.

Excellent Recording.......2004-07-07

This is an excellent set of recordings by the outstanding Alfred Brendel. The orchestral work is similarly excellent. Aside from the uniform excellence of these performances, the best thing about this set is that it provides a really nice picture of the evolution of Beethoven's compositional style. The relatively uniform orchestral and soloist approaches allows a comparison of Beethoven's compositional styles. While recorded with a modern orchestra and a modern piano, the 1st and 2nd concertos display the more Classical style of Beethoven's earlier work. The 5th and final, Emperor, concerto, is an outstanding example of Beethoven's mature and fully Romantic style.

Applause - One More "No" Vote.......2004-04-09

These are excellent performances of these concertos for Brendel. I particularly like his rendition of concerto no. 4. I'd also like to comment on the sub-issue going on in these reviews. Sorry Thomas, but I'd have to agree with the others on this one. These recordings would have benefited from the removal of the applause for the reasons cited. Like Thomas, I sometimes like to kick back, close my eyes and fantasize that I'm at a live performance when listening to a good recording. The fact is though that a recording is not a live performance. And even if it was, applause is not part of the performance. It's the audience's response to a good performance. The "electricity" felt at a live artistic performance is what elicits applause from those listening. It's based on such things as the beauty of the piece itself and the high degree of execution performed by the artists.

Average customer rating:

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

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

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Beethoven: Bagatelles
Liszt: Piano Works
Beethoven: Complete String Quartets
Mozart: The Complete Piano Concertos
Beethoven: The Piano Trios

ASIN: B0000041DZ
Release Date: 1996-11-19

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Spirit.

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

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

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

2. Phrasing.

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

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

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

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

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

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

3. Melody.

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

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

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

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

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

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

Beethoven: Complete Works for Piano & Cello

Average customer rating:

Outstanding performances
Spendid Performances of These Beethoven Pieces From The Brendels
A Beethoven Album for the 21 century

Beethoven: Complete Works for Piano & Cello
Alfred Brendel , and Adrian Brendel
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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ASIN: B0002LGWEA
Release Date: 2005-02-08

Tracks:

I. Adagio Sostenuto Ed Espressivo
Allegro Molto, Piu Tosto Presto
II. Rondo: Allegro
I. Andante - Allegro Vivace
II. Adagio - Tempo D'andante - Allegro Vivace
I. Allegro Ma Non Tanto
II. Scherzo: Allegro Molto
III. Adagio Cantabile - Allegro Vivace
Theme: Allegretto
Variation I
Variation II
Variation III
Variation IV
Variation V
Variation VI
Variation VII
Variation VIII
Variation IX
Variation X: Adagio
Variation XI: Poco Adagio, Quasi Andante
Variation XII: Allegro

Tracks:

Theme: Allegretto
Variation I
Variation II
Variation III
Variation IV
Variation V
Variation VI
Variation VII
Variation VIII
Variation IX
Variation X: Allegro
Variation XI: Adagio
Variation XII: Allegro
I. Allegro Con Brio
II. Adagio Con Molto Sentimento D'affetto
III. Allegro Fugato
I. Adagio Sostenuto - Allegro
II. Rondo: Allegro Vivace
Theme: Andante
Variation I
Variation II
Variation III
Variation IV
Variation V: Si Prenda Il Tempo Un Piu Vivace
Variation VI: Adagio
Variation VII: Allegro, Ma Non Troppo

Customer Reviews:

Outstanding performances.......2007-06-27

The Brendel father/son pair showed such excellent ensemble playing that it appears they are one. This recording provides the wonderful combination of beautiful compositions well performed.

Spendid Performances of These Beethoven Pieces From The Brendels.......2007-03-21

I will have to listen again to my Deutsche Grammophon recordings of these same Beethoven pieces which were recorded nearly fifty years ago by legendary musicians pianist Friedrich Gulda and cellist Pierre Fournier; their performances I truly regard as definitive for these very works. However, I am equally impressed with the polished, emotionally understated playing shown by both Brendels, father and son, in this relatively new Philips recording. Distinguished pianist Alfred Brendel shows more of his typically sublime, technically proficient playing, in which he emphasizes Beethoven's ties to his mentors and contemporaries Mozart and especially, Haydn. However, without question, the real surprise is the superb playing from his son, the young cellist Adrian Brendel, who demonstrates that he is artistically as gifted a musician as his well-known father. My own personal favorites are their elegant playing of the first third cello sonatas, in which both truly shine individually in dramatic, yet still emotionally understated, turns as soloists, but there are truly ample examples of their exquisite playing throughout this two-CD set. So I am inclined to agree with another reviewer that theirs is truly a 21st Century Beethoven works for piano and cello definitive recording, and one that deserves favorable comparison to the great ones of the last century, including my own personal favorite from Gulda and Fournier.

A Beethoven Album for the 21 century.......2005-03-15

While there have been countless recordings of Beethoven's Cello sonatas - Schnabel and Fournier, Richter and Rostropovich, Cortot and Fournier - this album sticks out in my mind. While today's musical sobriety has left us with many boring performances, this album proves that relatively stright interpretations leave a great deal of room for flexibility. There is nothing offensive and everything is in good taste. I must add that the 3rd sonata is hair raising and electrifying in its rhythmic drive. Brendel has proven to us once again (with the help of his son) that his clear conceptions lead to great music. This album is not to be missed.

Haydn: 3 Piano Sonatas; Fantasia in C; Adagio in F

Average customer rating:

Brendel at his best!

Haydn: 3 Piano Sonatas; Fantasia in C; Adagio in F

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
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ASIN: B00020QWF0
Release Date: 2004-09-14

Customer Reviews:

Brendel at his best!.......2005-05-17

What celestial playing! Haydn's piano sonatas aren't that popular, but Brendel absolutely makes you fall in love with them!!

Music Review: