Beethoven: Complete Violin Sonatas

Editorial Reviews
Amazon.com
Violin-piano teams are surprisingly rare among chamber music combinations, and the Dumay-Pires duo is one of the most renowned. Their partnership began 12 years ago with Beethoven's "Spring" Sonata; this recording project took from 1997 to 2002 to complete. Though they admit to having differences of opinion and indeed at some points seem to have agreed to disagree, the performances show the fruits of their long, close collaboration in the perfection of ensemble, balance, and stylistic unanimity. Both players are consummate masters of their instrument and possess the effortless brilliance of virtuosos, but their interpretations, though carefully planned and thought out, are likely to raise a lot of eyebrows.

Their playing is predominantly loud and frequently strident. The piano sounds clangorous, and while the violinist's tone can soar, he uses an unremittingly fast, intense vibrato (or none at all for sudden changes of color). Their style is large-scale and heroic, but driven and aggressive. To achieve utmost contrast, they overdo everything: dynamics are excessive; tempos, though generally sensible, change at will; impetuosity becomes turbulence; drama chaotic abandon. Most disturbing, they blithely ignore Beethoven's meticulous markings, adding and eliminating dynamics, changing note lengths, choosing bowings for instrumental convenience, not phrasing and articulation. In this heavy-handed approach, charm, lightness, delicacy, and emotional continuity are lost, and character and expression are projected through exaggerated external effects rather than inner experience. One cannot help wondering why it is so often the best players who tend to take the easy way out. Listeners will find their own favorite sonatas and interpretations, from the bright, youthful exuberance of No. 1 to the calm serenity of No. 10. --Edith Eisler

Beethoven: Complete Violin Sonatas, Music, Ludwig van Beethoven, Maria-Joćo Pires, Augustin Dumay, Chamber, Chamber Music & Recitals, Classical, Classical Composers, Classical Music, Violin with Keyboard
Beethoven: Complete Violin Sonatas
Average customer rating: 5 out of 5 stars
  • Exceptional performances
 Beethoven: Complete Violin Sonatas

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000NJM6KU
Release Date: 2007-04-10

Tracks:

  1. Allegro Con Brio
  2. Tema Con Variazioni (Andante Con Moto)
  3. Rondo, Allegro
  4. Allegro Vivace
  5. Andante Piu Tosto Allegretto
  6. Allegretto Piacevole
  7. Allegro Con Spirito
  8. Adagio Con Molt'espressione
  9. Rondo, Allegro Molto
  10. Presto
  11. Andante Scherzoso, Piu Allegretto
  12. Allegro Molto

Tracks:

  1. Allegro
  2. Adagio Molto Espressivo
  3. Scherzo, Allegro Molto
  4. Rondo, Allegretto Ma Non Troppo
  5. Allegro
  6. Adagio
  7. Allegretto Con Variazioni
  8. Allegro Con Brio
  9. Adagio Cantabile
  10. Scherzo, Allegro
  11. Finale, Allegro

Tracks:

  1. Allegro Assai
  2. Tempo Di Menuetto
  3. Allegro Vivace
  4. Adagio Sostenuto-presto
  5. Andante Con Variazioni
  6. Finale, Presto
  7. Allegro Moderato
  8. Adagio Espressivo
  9. Scherzo, Allegro
  10. Poco Allegretto

Customer Reviews:

5 out of 5 stars Exceptional performances.......2007-05-11

This bargain set from Brilliant Classics features a legendary recording session: Arthur Grumiaux and Clara Haskil performing the complete Beethoven violin sonatas.

These sessions where originally recorded (in mono) and released by Philips in 1956/57, and it has been available on CD from that label before (nla). But a new release on CD has recently been announced from Decca Music Group (to which Philips records now belongs). However, the present incarnation is a fine opportunity to grab these classic performances at a bargain price.

The performances are impeccable - Grumiaux and Haskil are both in top form, and together they are an ideal match: Grumiaux' glowing tone and masterly understanding combined with Haskil's sensitive brilliance.

Now, of course, we find this set in a crowded field with many excellent, classic recordings, for example Ashkenazy/Perlman on Decca, Oistrakh/Oborin on Philips, and Schneiderhan/Kempff on DG. Collectors may need all these classic sets (and possibly some other sets as well). But the classic Haskil/Grumiaux set is a serious contender to any, with most enjoyable and moving performances at a bargain price.

Highly recommended!
Beethoven: The Complete Piano Sonatas & Concertos
Average customer rating: 5 out of 5 stars
  • The one collection I cannot imagine being without
  • MASTERY
  • Magisterial... mystical
  • Beethoven + Arrau = Divinity
  • Beethoven himself would be proud.
 Beethoven: The Complete Piano Sonatas & Concertos
Claudio Arrau , Janos Starker , Ludwig van Beethoven , Bernard Haitink , Eliahu Inbal , Concertgebouw Orchestra Amsterdam , New Philharmonia Orchestra , and Henryk Szeryng
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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  1. Liszt: Piano Works
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ASIN: B00000C2F7
Release Date: 1999-11-09

Tracks:

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

Tracks:

  1. Piano Sonata No.3 In C, Op.2 No.3: 1. Allegro con brio
  2. Piano Sonata No.3 In C, Op.2 No.3: 2. Adagio
  3. Piano Sonata No.3 In C, Op.2 No.3: 3. Scherzo. Allegro
  4. Piano Sonata No.3 In C, Op.2 No.3: 4. Allegro assai
  5. Piano Sonata No.4 In E Flat, Op.7: 1. Allegro molto e con brio
  6. Piano Sonata No.4 In E Flat, Op.7: 2. Largo, con gran espressione
  7. Piano Sonata No.4 In E Flat, Op.7: 3. Allegro
  8. Piano Sonata No.4 In E Flat, Op.7: 4. Rondo. Poco allegretto e grazioso
  9. 6 Piano Veriations In F On An Original Theme, Op.34

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

  1. Piano Sonata No.21 In C, Op.53 'Waldstein': 1. Allegro con brio
  2. Piano Sonata No.21 In C, Op.53 'Waldstein': 2. Introduzione. Adagio molto - Rondo. Allegretto moderato - Prestissimo
  3. 15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Inroduzione col Basso del Tema. Allegretto vivace
  4. 15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Variazioni I-XV
  5. 15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Finale. Alla Fuga. Allegro con brio - Andante con moto
  6. 32 Piano Variations In C Minor On An Original Theme, WoO 80
  7. Rondo In G, Op.51 No.2

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

  1. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Tema : Vivace - Variation I. Alla marcia maestoso
  2. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation II Poco allegro
  3. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation III L'istesso tempo
  4. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IV Un poco piu vivace
  5. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation V Allegro vivace
  6. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VI Allegro ma non troppo e serioso
  7. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VII Un poco piu allegro
  8. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VIII Poco vivace
  9. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IX Allegro pesante e risoluto
  10. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation X Presto
  11. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XI Allegretto
  12. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XII Un poco piu moto
  13. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIII Vivace
  14. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIV Grave e maestoso
  15. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XV Presto scherzando
  16. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVI Allegro
  17. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVII
  18. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVIII Poco moderato
  19. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIX Presto
  20. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XX Andante
  21. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXI Allegro con brio - Meno allegro - Tempo I - Meno allegro
  22. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXII Allegro molto alla 'Notte giorno faricar' di Mozart
  23. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIII Allegro assai
  24. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIV Fughetta. Andante
  25. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXV Allegro
  26. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVI
  27. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVII Vivace
  28. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVIII Allegro
  29. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIX Adagio ma non troppo
  30. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXX Andante sempre cantabile
  31. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXI Largo, molto espressivo
  32. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXII Fuga. Allegro - Poco adagio
  33. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXIII Tempo di minuetto moderato

Tracks:

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

Tracks:

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

Tracks:

  1. Piano Concerto No.5 In E Flat, Op.73 'Emperor': 1. Allegro
  2. Piano Concerto No.5 In E Flat, Op.73 'Emperor': 2. Adagio un poco mosso
  3. Piano Concerto No.5 In E Flat, Op.73 'Emperor': 3. Rondo. Allegro
  4. Triple Concerto For Piano, Violin And Cello In C, Op.56: 1. Allegro
  5. Triple Concerto For Piano, Violin And Cello In C, Op.56: 2. Largo
  6. 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:

5 out of 5 stars 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.

5 out of 5 stars 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!

5 out of 5 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.

5 out of 5 stars 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.

5 out of 5 stars 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: The Complete Sonatas
Average customer rating: 4 out of 5 stars
  • Beautifully musical
  • The earlier the composition the better the playing
  • why!?
  • Elevator Music
  • Richard Goode Plays Beethoven Sonatas
 Beethoven: The Complete Sonatas
Ludwig van Beethoven , and Richard Goode
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005J2D
Release Date: 1993-10-05

Tracks:

  1. Allegro
  2. Adagio
  3. Menuetto: Allegretto
  4. Prestissimo
  5. Allegro Vivace
  6. Largo appassionato
  7. Scherzo: Allegretto
  8. Grazioso
  9. Allegro con brio
  10. Adagio
  11. Scherzo And Trio: Allegro
  12. Assai Allegro

Tracks:

  1. Allegro molto e con brio
  2. Adagio Molto
  3. Finale: Prestissimo
  4. Allegro
  5. Allegretto
  6. Presto
  7. Presto
  8. Largo e mesto
  9. Menuetto: Allegro
  10. Rondo: Allegro

Tracks:

  1. Allegro molto e con brio
  2. Largo, con grand' espressione
  3. Allegro
  4. Rondo: Poco allegretto e grazioso
  5. Allegro
  6. Allegretto
  7. Rondo: Allegro comodo
  8. Grave, Molto allegro e con brio
  9. Adagio cantabile
  10. Rondo: Allegro

Tracks:

  1. Allegro
  2. Andante
  3. Scherzo: Assai allegro
  4. Allegro con brio
  5. Adagio con molto espressione
  6. Menuetto
  7. Rondo: Allegretto
  8. Andante con Variazioni
  9. Scherzo: Allegro molto
  10. Marcia funebre (Sulla morte d'un Eroe)
  11. Allegro

Tracks:

  1. Andante, Allegro, Andante
  2. Allegro molto vivace
  3. Adagio con espressione
  4. Allegro vivace
  5. Adagio sostenuto
  6. Allegretto
  7. Presto agitato
  8. Allegro
  9. Andante
  10. Scherzo: Allegro vivace
  11. Rondo: Allegro ma non troppo

Tracks:

  1. Allegro vivace
  2. Adagio grazioso
  3. Rondo: Allegretto
  4. Largo, Allegretto, Allegro
  5. Adagio
  6. Allegretto
  7. Allegro
  8. Scherzo: Allegretto vivace
  9. Menuetto: Moderato e grazioso
  10. Presto con fuoco

Tracks:

  1. Allegro con brio
  2. Introduzione: Adagio molto
  3. Rondo: Allegretto moderato
  4. In tempo d'un Menuetto
  5. Allegretto
  6. Allegro assai
  7. Andante con moto
  8. Allegro non troppo

Tracks:

  1. Andante
  2. Rondo: Allegro
  3. Allegro ma non troppo
  4. Tempo di Menuetto
  5. Adagio cantabile; Allegro ma non troppo
  6. Allegro vivace
  7. Presto alla tedesca
  8. Andante
  9. Vivace
  10. Adagio: Allegro (Les Adieux)
  11. Andante espressivo (L'Absence)
  12. Vivacissimamente (Le Retour)
  13. Vivaciously And With Feeling And Expression Throughout
  14. Not Too Quickly And Very Songfully

Tracks:

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

Tracks:

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

Amazon.com essential recording

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

Customer Reviews:

5 out of 5 stars Beautifully musical.......2007-05-04

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

4 out of 5 stars The earlier the composition the better the playing.......2007-04-25

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

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

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

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

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

2 out of 5 stars why!?.......2007-03-08

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

1 out of 5 stars Elevator Music.......2006-12-07

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

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

5 out of 5 stars Richard Goode Plays Beethoven Sonatas.......2006-11-04

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

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

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

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

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

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

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


So, hope you enjoy these as much as I have.
Beethoven: Complete Violin Sonatas
Average customer rating: 5 out of 5 stars
  • THE BEST SET OF BEETHOVEN'S VIOLIN SONATAS EASILY AVAILABLE.
 Beethoven: Complete Violin Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009A4200
Release Date: 2005-08-09

Tracks:

  1. I. Allegro Con Brio
  2. II. Tema Con Variazioni. Andante Con Moto (Variations I-IV)
  3. III. Rondo. Allegro
  4. I. Allegro Vivace
  5. II. Andante Piu Tosto Allegretto
  6. III. Allegro Piacevole
  7. I. Allegro Con Spirito
  8. II. Adagio Con Molta Espressione
  9. III. Rondo. Allegro Molto
  10. I. Presto
  11. II. Andante Scherzoso Piu Allegretto
  12. III. Allegro Molto

Tracks:

  1. I. Allegro
  2. I. Adagio Molto Espressivo
  3. III. Scherzo. Allegro Molto
  4. IV. Rondo. Allegro Ma Non Troppo
  5. I. Allegro
  6. II. Adagio Molto Espressivo
  7. III. Allegretto Con Variazioni (Variations I-VI)
  8. I. Allegro Con Brio
  9. II. Adagio Cantabile
  10. III. Scherzo. Allegro-Trio
  11. IV. Finale. Allegro-Presto

Tracks:

  1. I. Allegro Assai
  2. II. Tempo Di Minuetto Ma Molto Moderato E Grazioso
  3. III. Allegro Vivace
  4. I. Adagio Sostenuto-Presto
  5. II. Andante Con Variazioni (I-IV)
  6. III. Presto
  7. I. Allegro Moderato
  8. II. Adagio Espressivo
  9. III. Scherzo. Allegro-Trio-Coda
  10. IV. Poco Allegretto-Adagio Espressivo-Tempo I

Customer Reviews:

5 out of 5 stars THE BEST SET OF BEETHOVEN'S VIOLIN SONATAS EASILY AVAILABLE........2005-09-21



Wolfgang Schneiderhan had a very sweet, singing timber with his violin. He has great control, and his playing is very finely mannered.

The cycle he recorded with Kempff is excellent, but going out of print.

This cycle with Carl Seemann is very good; easily available; and well priced.

Seemann was Schneiderhan's accompanist on the Brahms violin Sonatas as well. Highly recommended.
Beethoven: 10 Sonatas for Piano and Violin, Complete
Average customer rating: 2 out of 5 stars
  • The static is a third soloist
Beethoven: 10 Sonatas for Piano and Violin, Complete

Manufacturer: Vanguard Classics
ProductGroup: Music
Binding: Audio CD

All Works by BeethovenAll Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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ASIN: B0002XL234
Release Date: 2004-12-07

Customer Reviews:

2 out of 5 stars The static is a third soloist .......2005-06-17

I only recently discovered the magic and majesty of Claudio Arrau through his 14 CD set of Beethoven piano sonatas. I realized by the end of Sonata No. 1 that I had never in my life heard such glorious sounds from a piano. Since then, I've purchased everything of his that I can find.

So, it was with real eagerness that I awaited the arrival of 10 Sonatas for Piano and Violin. A few minutes into the first CD, I decided, with regrets, to return the set for a refund. The sound quality is so bad... imagine a scratchy old LP played with an old needle. There were moments when some of Arrau's warm sound managed to penetrate the static, but both piano and violin sound like a shadow of their potential, despite being played by two of the greatest soloists of the 20th century.

This record label should have honored these great soloists by remastering this beautiful music before releasing it. What a shame!

Unless you are interested in this music for historical purposes only, or have a high tolerance for low sound quality, you might want to purchase this music from another label.
Complete Sonatas for Pianoforte & Violin (Box)
Average customer rating: Not rated
    		Complete Sonatas for Pianoforte & Violin (Box)

    Manufacturer: Cypres
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000EBD9XU
    Release Date: 2006-02-14
    Complete Violin Sonatas (Dig)
    Average customer rating: 4.5 out of 5 stars
    • best reconding for Beethoven violin sonatas
    • Absolutely Wonderful!
    • Cause for Celebration
    • Ok but not one of the greats...
    		 Complete Violin Sonatas (Dig)
    Beethoven , Pires , and Dumay
    Manufacturer: Deutsche Grammophon
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B00006AKUV
    Release Date: 2002-11-12

    Amazon.com

    Violin-piano teams are surprisingly rare among chamber music combinations, and the Dumay-Pires duo is one of the most renowned. Their partnership began 12 years ago with Beethoven's "Spring" Sonata; this recording project took from 1997 to 2002 to complete. Though they admit to having differences of opinion and indeed at some points seem to have agreed to disagree, the performances show the fruits of their long, close collaboration in the perfection of ensemble, balance, and stylistic unanimity. Both players are consummate masters of their instrument and possess the effortless brilliance of virtuosos, but their interpretations, though carefully planned and thought out, are likely to raise a lot of eyebrows.

    Their playing is predominantly loud and frequently strident. The piano sounds clangorous, and while the violinist's tone can soar, he uses an unremittingly fast, intense vibrato (or none at all for sudden changes of color). Their style is large-scale and heroic, but driven and aggressive. To achieve utmost contrast, they overdo everything: dynamics are excessive; tempos, though generally sensible, change at will; impetuosity becomes turbulence; drama chaotic abandon. Most disturbing, they blithely ignore Beethoven's meticulous markings, adding and eliminating dynamics, changing note lengths, choosing bowings for instrumental convenience, not phrasing and articulation. In this heavy-handed approach, charm, lightness, delicacy, and emotional continuity are lost, and character and expression are projected through exaggerated external effects rather than inner experience. One cannot help wondering why it is so often the best players who tend to take the easy way out. Listeners will find their own favorite sonatas and interpretations, from the bright, youthful exuberance of No. 1 to the calm serenity of No. 10. --Edith Eisler

    Customer Reviews:

    5 out of 5 stars best reconding for Beethoven violin sonatas.......2003-06-14

    As a violinist, i've listened many recordings of complete Beethoven sonatas, by comparison, this one is so far the best. although some of the sonatas recorded in earlier year( the whole recording session lasted for 5 years.)tend to be overly aggressive and the tempo is a bit too fast ( No.7~No.9) but the excellent cordination ,musical balance , heroic characteristic and large-scale dynamic changes between the two intsruments perfectly represent the true Beethoven spirit.

    5 out of 5 stars Absolutely Wonderful!.......2003-03-08

    Thank-You Christopher for writing such a great review. I do not have much time, so here is the essential: the sound quality is awesome.

    For the reviewers who have problem with it, two advices: get decent audio gear and tweak the acoustics of your room. It was even a Stereophile record of the month...

    Enjoy

    5 out of 5 stars Cause for Celebration.......2003-02-02

    For those who had forsaken of ever hearing entirely satisfactory performances of these enormously challenging works, the release of this three-disk set is a cause for celebration. Dumay and Pires, too little heard separately or together in this country but well known elsewhere, achieve what no other collaboration in the extensive discography of these sonatas has yet succeeded in realizing. Finally we hear the soaring bel canto lyricism, the flashing virtuosic energy, the intimacy, the intellectual introversion of these works, often within the short span of a few bars. No collaboration until now has consistently captured the breathtaking emotional sweep of these works that too often remains undiscovered. It is immediately apparent that this recording project was no hastily arranged meeting of marquee performers. Listening to these performances, we have the sense that each phrase, if not each measure, was analyzed and debated long before these performers brought their formidable technical powers to bear in the recording studio. To listen to these performances is to delight in things we have never heard before in works that we thought we knew so well. The result is a recording of unsurpassed beauty and insight in which Beethoven the lyricist and Beethoven the intellectual receive equal justice.

    3 out of 5 stars Ok but not one of the greats..........2003-01-08

    I was surprised no one has reviewed these recordings. I am a big fan of Pires and have enjoyed her work with colleague Dumay.

    Sadly, while there are some interesting moments in this collection, I would advise you to audition prior to purchase, or if you are only to have one set of these works in your collection, do look elsewhere.

    I just was not inspired by the performances and the recording itself has a bit of an odd acoustic quality to it -- overly resonant -- that bothers me as well.

    I'm damning with faint praise. These are great musicians. There is beauty here, but I have heard more insights from these musicians in previous recordings.
    Complete Violin Sonatas Volume1
    Average customer rating: 5 out of 5 stars
    • Beethoven's Early Sonatas for Piano and Violin
    		 Complete Violin Sonatas Volume1

    Manufacturer: Philips
    ProductGroup: Music
    Binding: Audio CD

    All Works by BeethovenAll Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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    5. Favourite Violin Concertos

    ASIN: B0000041CR
    Release Date: 1996-01-23

    Tracks:

    1. Sonata No. 1 In D, Op. 12 No. 1 For Piano And Violin: Allegro con brio
    2. Sonata No. 1 In D, Op. 12 No. 1 For Piano And Violin: Tema con variazioni. Andante con moto
    3. Sonata No. 1 In D, Op. 12 No. 1 For Piano And Violin: Rondo. Allegro
    4. Sonata No. 2 In A, Op. 12 No. 2 For Piano And Violin: Allegro vivace
    5. Sonata No. 2 In A, Op. 12 No. 2 For Piano And Violin: Andante piu tosto allegretto
    6. Sonata No. 2 In A, Op. 12 No. 2 For Piano And Violin: Allegro piacevole
    7. Sonate No. 3 In E Flat, Op. 12 No. 3 For Piano And Violin: Allegro con spirito
    8. Sonate No. 3 In E Flat, Op. 12 No. 3 For Piano And Violin: Adagio con molt' espressione
    9. Sonate No. 3 In E Flat, Op. 12 No. 3 For Piano And Violin: Rondo. Allegro molto

    Tracks:

    1. Sonata No. 4 In A Minor, Op. 23 For Piano And Violin: Presto
    2. Sonata No. 4 In A Minor, Op. 23 For Piano And Violin: Andante scherzoso, piu allegretto
    3. Sonata No. 4 In A Minor, Op. 23 For Piano And Violin: Allegro molto
    4. Sonata No. 5 In F, Op. 24 For Piano And Violin 'Spring': Allegro
    5. Sonata No. 5 In F, Op. 24 For Piano And Violin 'Spring': Adagio molto espressivo
    6. Sonata No. 5 In F, Op. 24 For Piano And Violin 'Spring': Scherzo. Allegro molto
    7. Sonata No. 5 In F, Op. 24 For Piano And Violin 'Spring': Rondo. Allegro ma non troppo
    8. Violin Romance No. 1 In G, Op. 40
    9. Violin Romance No. 2 In F, Op. 50

    Customer Reviews:

    5 out of 5 stars Beethoven's Early Sonatas for Piano and Violin.......2003-12-18

    Beethoven wrote ten sonatas for piano and violin, the best known of which are the "Spring" and the "Kreutzer" sonatas. The fame of these two works has tended to result in neglect of the remaining sonatas. This is unfortunate because Beethoven's remaining eight sonatas for piano and violin include much great music. The set of 10 works is of an appropriate size to warrant exploration of the entire group for those with a passion for the violin or for Beethoven. It includes an appealing mix of familiar and unfamiliar music.

    This 2-CD disc includes the first five of Beethoven's sonatas in this genre played by violinist Henryk Szeryng and pianist Ingrid Haebler. They are all early works and will reward listening.

    Beethoven composed his first violin and piano sonatas in 1797-1798 when he was 27 and published them in a three-work set as his opus 12. The works are in D-major, A-major, and E-flat major and each consists of three movements. The D-major sonata's opening movement features a wealth of themes which follow rapidly on one another. It is lively and exuberant, beginning with the loud chords with which it opens. The second movement is a theme and variations, which foreshadows Beethoven's use of this form in the slow movement of the Kreutzer sonata. The A-major sonata opens with a humorous, boisterous first movement followed by a surprisingly poignant slow movement. The E-flat major sonata too has an expressive slow movement. The first movement features long brilliant downward runs in the piano with the violin accompanying on top. The third movement of each of these works is a lively rondo. Although this music is delightful to modern listeners, a contemporary reviewer criticized these works as difficult to hear. "Learned, learned, always learned" he complained, "no naturalness, no melody!"

    The next two sonatas, opus 23 and opus 24 appear to have been written as a contrasting pair. The three-movement opus 23 sonata in A-minor is, in my view, a neglected masterpiece. This is a spare, linear and angry work. It is in 6/8 time and opens with a sharp theme introduced by the piano followed by a softer middle movement, and intensely lyrical writing for the violin in the development. The second movement opens with a halting, reflective theme stated by the piano with the violin on top followed by a quicker, fugal section. The final movement returns to the intensity of the first movement with the violin melody over repeated tremolos in the piano. Large chords in the piano under the violin lead to a quiet close. This outstanding work is similar in many ways to the better-known "Kreutzer" sonata.

    The final sonata on this disc is the "Spring" sonata, in F-major opus 24 which has always been Beethoven's most beloved work in this form. The sonata is in four movements and is lyrical throughout. The first movement features a singing, extended melody which has given the work its nickname. The second movement features a more intense lyricism which foreshadows Schubert for many listeners. The third movement is a brief, rhythmically complex scherzo and the finale returns to the long lyrical line of the opening movement.

    This disc also includes Beethoven's two early Romances for violin and orchestra played by Szeryng and the Royal Concertgebourw Orchestra conducted by Bernard Haitink. These are probably early works and may have been intended as the slow movement for a violin concerto.

    Szeryng and Haebler offer wonderful renditions of this music. The piano and the violin are balanced and play as equals, as Beethoven intended, with neither instrument trying to overshadow the other. Szeryng plays with a rich tone that comes through beatifully in the "Spring" sonata. The "Spring" is taken at a slower tempo than is sometimes the case. The recordings on this compilation date from 1978 and the CD sells at a reasonable price.

    This disc, and its companion disc of the later five sonatas, constitute an excellent compliation of Beethoven's piano and violin music. They are an excellent way for the listener to become acquainted with these works.
    Beethoven: The Complete Violin Sonatas, Vol. 2
    Average customer rating: 5 out of 5 stars
    • Amazing!
    • Beethoven's Middle and Late Violin Sonatas
    		 Beethoven: The Complete Violin Sonatas, Vol. 2

    Manufacturer: Philips
    ProductGroup: Music
    Binding: Audio CD

    All Works by BeethovenAll Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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    ASIN: B0000041CS
    Release Date: 1996-01-23

    Tracks:

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

    Tracks:

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

    Customer Reviews:

    5 out of 5 stars Amazing!.......2005-03-05

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

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

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

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

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

    5 out of 5 stars Beethoven's Middle and Late Violin Sonatas.......2004-01-07

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

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

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

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

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

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

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

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

    This is an outstanding disc that includes the great "Kreutzer" sonata as well as Beethoven's less well-known works for the piano and violin. The opus 96 sonata in particular is outstanding. The listener will greatly enjoy exploring using this collection to explore Beethoven's ten sonatas for these instruments.
    Complete Beethoven Edition, Vol. 7: Violin Sonatas
    Average customer rating: 4.5 out of 5 stars
    • Not quite there!!!
    • Stunning, enlivened presentation
    • GET THEM!
    • Wow...
    • Review from Gramaphone
    		 Complete Beethoven Edition, Vol. 7: Violin Sonatas

    Manufacturer: Deutsche Grammophon
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000001GZA
    Release Date: 1997-11-25

    Tracks:

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

    Tracks:

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

    Tracks:

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

    Tracks:

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

    Customer Reviews:

    3 out of 5 stars Not quite there!!!.......2002-04-06

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

    5 out of 5 stars Stunning, enlivened presentation.......2001-09-05

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

    5 out of 5 stars GET THEM!.......2001-04-17

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

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

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

    5 out of 5 stars Wow..........2000-12-13

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

    4 out of 5 stars Review from Gramaphone.......1999-03-27

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

    Gramophone goes on and on raving about these performances of excellent musicality and ensemble playing. In their "Classical Good CD Guide 1999" they a two out of three G's (What they use instead of stars), tied for highest with Heifitz. I am planning to but these records myself very soon once I have some extra $ for them.

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