Beethoven: Piano Sonatas Nos. 14, 8 & 23

Editorial Reviews
Amazon.com essential recording
Rudolf Serkin's early 1960s accounts of the most popular "name" sonatas, on a CBS "Great Performances" mid-price CD, are compellingly direct and offer excellent value. The playing is deliberate, but hardly theatrical: as always, the pianist emphasizes the virtues of literalism. The recordings are closely miked and sonorous, and convey good piano tone along with every breath, sigh, groan, and vocalization Serkin produces. The Adagio of the Pathetique is especially lovely. --Ted Libbey

Tracks:

Sonate No. 8 C-moll Op. 13 'Pathetique': Grave - Allegro di molto e con brio
Sonate No. 8 C-moll Op. 13 'Pathetique': Adagio cantabile
Sonate No. 8 C-moll Op. 13 'Pathetique': Rondo. Allegro
Sonate No. 14 cis-moll Op. 27 No. 2 'Mondschein-Sonate': Adlagio sostenuto - attacca:
Sonate No. 14 cis-moll Op. 27 No. 2 'Mondschein-Sonate': Allegretto - acttacca:
Sonate No. 14 cis-moll Op. 27 No. 2 'Mondschein-Sonate': Presto agitato
Sonate No. 21 C-dur Op. 53 'Waldstein-Sonate': Allegro con brio
Sonate No. 21 C-dur Op. 53 'Waldstein-Sonate': Introduzione. Adagio molto - attacca:
Sonate No. 21 C-dur Op. 53 'Waldstein-Sonate': Rondo. Allegretto moderato
Sonate No. 23 f-moll Op. 57 'Appassionata': Allegro assai
Sonate No. 23 f-moll Op. 57 'Appassionata': Andante con moto - attacca:
Sonate No. 23 f-moll Op. 57 'Appassionata': Allegro, ma non troppo - Presto

Customer Reviews:

Middling.......2006-12-02

These performances are classic. To modern ears, Kempff has a delicate hand, and very good sense of dynamics. Lots of contrast. OTOH, some of the fast playing is a little muddled technically, the notes not quite clear and the pace hard to define, for example in the fast sections of Moonlight and Waldstein. These are very early recordings. Perhaps people weren't used to trying for technical perfection. And his flexibility with pace is a little too radical for my liking. Lots of parts seem too fast or too slow to me. Overly severe slowing and speeding in some cases.

Oh, and the recording quality is good...for the early 60s. That would not be a reason to avoid this disc.

I recommend unreservedly.......2005-12-15

This review is probably useless but I will not allow this wonderful disc to continue its 3 and a half star rating. Sound is fine. Performances immense but in a rather understated way which rewards repeated listening as more dynamic readings will not. I feel Beethoven sonatas need clarity and transparency for maximum enjoyment. i doubt if anyone would have the nerve to suggest this is not achieved by Kempff. I could draw comparison with that other master of understatement Solomon as his Beethoven is so transparent and I recommend his Testament recordings. Kempff is no Kovacevich and vice versa but I feel one can get rather fed up with K as K stamps his own personality on such works which leads to pretty impressive listening at first but I find it is Kempff I tend to go back to. Perhaps therefore purchasers should be warned to persevere if finding the disc seems disappointing on initial listening.

For the Waldstein and Moonlight.......2004-06-09

This CD deserves five stars for the Moonlight and Waldstein sonatas. These are the only two on the CD I listen to. I will agree that the Appassionata is not necessarily robust enough, and, having learned the Pathetique, it is not to my liking either.

But, before listening to Kempff's Moonlight recording, I had not especially liked the piece, especially the second and third movements. As I have heard all of the Beethoven sonatas, and most numerous times, this Moonlight recording brought to my attention the previously hidden beauty and "coolness" (in the second and third movements). It vaulted the piece up to about #6 on my list of Beethoven sonatas.

The Waldstein Sonata's first and third movements immediately caught my attention. Although I play the first movement faster than Kempff, it is nevertheless exceptional in my ears. The second movement is wonderful in its own right, but I am not particularly fond of it as a work, not at all Kempff's fault. As for the third movement. I am at a loss for words. Beethoven certainly helped out any pianist who plays this by making it one of this three or four best. This piece is absolutely delicious and Kempff makes it even moreso. The detached triplets at the 7:57 mark make me literally jump in the air and pump my fists.

These are, quite simply, the best Beethoven recordings I own, easily topping Van Cliburn's and Arrau's were a very close second. I have yet to obtain a Schnabel recording of these pieces.

Heaven or hell? You decide!.......2003-01-07

From his youth in Imperial Berlin and Vienna until his retirement in his late 80's, Wilhelm Kempff's interpretations of Beethoven's Piano works have never been anything other than controversial, polarising the opinions of music lovers for almost a century to an even greater extent than Kemperer did with the symphonies. That alone is no small achievement!

This however leaves us with something of a problem with this CD. Many who hear these recordings of some of the best known of Beethoven's Piano sonatas, The Pathetique (no 8), The Moonlight (no 14), The Waldstein (no 21) and The Appassionata (no 23), regard them as something of a "cop out", polite and civilised performances of music which at it's core it anything but polite and civilised, cynically calculated to appeal to the drawing room sensibilities of the late 19th and early 20th centuries. I must confess that the first time I heard this CD, I was inclined to agree. But as I listened again and again, I found myself being drawn ever deeper in to Kempff's view. These readings are deeply introspective; they have all the passion of more bombastic readings, but expressed in a more subtle way and prove that there is a romantic depth to Beethoven's music, which modern interpretations tend to gloss over. Perhaps this is how Liszt, Chopin and Clara Schumann played these works, or perhaps not, we'll never know. Either way the listener's reaction to this recording will be more subjective than with almost any other.

For me, even considering the mono recordings made my Kempff 10 years earlier than these which some consider to be better, this is the finest performance of the Beethoven sonata's available. I can't recommend it highly enough.

Beautifully clear but lacking in fire and wildness.......2002-03-21

Wilhelm Kempff took a very unique approach to Beethoven. His playing of the sonatas was much more "introverted" than that of most other pianists; he always brought out the personal, introspective qualities of Beethoven, even in brilliant, heroic works like the Waldstein or the Appassionata. The main ways he accomplished this were 1) by having a somewhat lower average dynamic level than most pianists, carefully observing all of Beethoven's piano markings (while ignoring several of the forte markings!) and 2) by avoiding extreme speeds, favoring spacious allegros and flowing slow movements. He also played very expressively, with rubato and ritardandos thrown in wherever he felt they were necessary. He also felt more concerned with expressing the character of the piece in his way than with honoring the letter of it.

While this may sound like a good approach on paper, it doesn't come off well in actuality. For example, in the Pathétique, the first sonata on this disc, the slow introduction, taken at quite a quick pace, is not very dark in character. Kempff cuts short the rests at the end of each phrase and changes the rhythm of several chords in the center. His playing of the Allegro di molto e con brio isn't much better. Firstly, the slow speed at which he plays it might work if sustained properly, but Kempff's phrasing is not good at all; he thumps out each chord without any concern for the phrasing or line of the piece. The slow speed and lack of compensation for this in the playing means that the movement feels too genteel, too polite. It's not wild, it's not dark - a constant problem with Kempff. In addition, he omits the exposition repeat (a serious failing). The famous slow movement is considerably better, benefiting from Kempff's flowing speed and admirable "floating" of the melody above the accompaniment. The final rondo, however, is terrible: Kempff's playing lacks any kind of drama or emotion. This can be seen even in his playing of the ornaments in the opening theme, where they MUST be on the beat, giving the theme a greater sense of wildness. Kempff opts for the "polite," before-the-beat solution.

The Moonlight's opening movement is taken quickly, but, again, the melody is floated superbly, and Kempff's delicate touch works wonders in this movement. The Allegretto is fine, but the Presto agitato is not very Presto, nor is it very agitato - and again, he omits the crucial repeat.

The Waldstein is perhaps the best performance on the disc. I will examine it at some length, as it is my favorite sonata before the last three. The first movement is fabulous. The speed is not too slow, the playing is not too choppy, the phrasing is fabulous. The magical tremolos at 0:22 are for once really magical and luminous, and if the subsequent wild passage isn't quite wild enough, the radiance and beauty of tone given to the chorale-like passage at 0:55 and the following radiant triplets in E major more than compensate. He observes the crucial exposition repeat, and varies his delivery of each section on the repeat, making it more than just a formality. The remainder of the movement is well-done, capturing the mood of each section well, although the closing runs in the final pages don't seem very intense.

The Introduzione is taken at a rather quick tempo, but Kempff's expressiveness and lyricism carry it through superbly. Kempff is generally very good at slow movements. The fabulous finale is taken at a rather slow pace, but I feel that's better in this movement than a speedy pace. The opening melody is, again, beautifully floated, but the flowing right-hand accompaniment doesn't sound quite even and serene as it should. Kempff's pedaling throughout this movement is rather eccentric, opting for less pedal where Beethoven specifies more, and more pedal where Beethoven specifies none. Everything is fine, however, until we get to the section in A minor after the first statement of the theme. Here, Kempff falls into the trap of thumping out the melody and the accompaniment. His eighth-note chords in the left hand plod gracelessly. He encounters similar problems in the later section in C minor. Although his crystal-clear articulation of the rapid left-hand figuration is admirable, he again thumps out the melody. In the subsequent modulating passage to D flat major, where the first three chords of the theme are repeated in different keys, the high, climactic D flat chord is hit extremely harshly, the very opposite of the otherworldly beauty it should be played with. His playing is a little too loud in the dreamy figuration which follows. At the fortissimo return of the main theme, his playing is again extremely harsh - this may also be a fault of the piano he uses, which is very percussive in the highest register. However, his is the best performance of the radiant broken-chord triplets (one of my favorite sections in Beethoven's entire sonata output) I have ever heard. The Prestissimo coda is very good, but is marred by the refusal to observe Beethoven's marking of the legato octaves in both hands as glissandi. There is no excuse whatsoever for not observing the unmistakable marking. Overall, although Kempff's Waldstein is a flawed performance, it is one that continually benefits from his light-filled, beautiful tone.

The Appassionata is a disappointment: texturally clear, beautifully played but totally lacking in the wild despair and passion this sonata so obviously needs.

Customer Reviews:

Close, but no Cigar.......2007-01-28

This CD features the legendary pianist in three popular Beethoven sonatas. It's no secret that Horowitz did not care for Beethoven's clumsy piano writing, was not regarded as a great Beethoven interpreter, and recorded these sonatas merely to satisfy contractual obligations. Though these sonatas were recorded in 1972 and 1973, Horowitz never played these particular works in public after 1953. Record company executives were the bane of Horowitz's existence until very late in his career, when he had attained so much notoriety that he could "record the C major scale and it would sell" in the words of Thomas Frost.

This is Horowitz's third recording of the de-rigeur Moonlight. As a performance, it is smoothed out and uneventful, slick and modern--even cold. The triplets of the opening movement lope along without having much meaning invested in them (a far cry from Horowitz's 1956 recording of the work which, despite its poor sonics, remains a benchmark in Beethoven performances). The Allegretto has some nice voicing, but the Finale's sudden accents are ignored, robbing the movement of much of its drama. One can admire the clarity of the playing here, as well as the technical finesse and excellent recorded sound, but Horowitz's heart is clearly not in this performance.

Horowitz's recording of the Waldstein Sonata in C major, Op.53, alternately delights and distracts. The clarity of the outer movements is remarkable, as is the unique kinetic energy. But, his feminine way of phrasing the first movement's second theme, beautifully voiced as it is, is especially foreign to Beethoven's masculine approach. The trills which accompany the main theme in the last movement are uncannily balanced, but purists will also be annoyed by Horowitz's rewriting of the finale's coda: where Beethoven has written octave glissandi, Horowitz substitutes octaves played presto and staccato. It has been speculated elsewhere that Horowitz considered the octave glissandi unplayable on the modern piano. Nonsense, I've played it as written myself, and so have many fellow pianists. Horowitz simply did not like the way Beethoven's writing sounded, so he changed it. Still, it cannot be said that this performances are boring (he's way ahead of Rubinstein's 1954 performance, which drags in the finale), and in today's homogenized pianistic culture, that alone is adequate recommendation.

Horowitz was more attuned to the bravura Sonata in F minor, Op. 57, the popular Appassionata. This 1972 recording is more successful than his more somber 1959 version. Horowitz allows more of his inate theatricality to come through, thereby increasing the drama of the piece. He also resists the temptation to stress the odd phrase for effect, at the expense of the whole, thereby increasing the structural cohesiveness. Especially noteworthy is the finale, taken at an unhurried tempo (it's actually easier to rush this movement), with virtually no pedal, but with overwhelming effect. Truly a triumph of the will over the limits of the flesh.

As a bonus, Sony has included the first two movements of the Pathétique (the only Sonata named by Beethoven himself), featuring perfectly paced opening movement, and a beautifully weighted Andante.

Sony has adequately remastered the sound, which is more full bodied than before, but remains rather dry.

Beethoven: Piano Sonatas Nos. 8, 14, 21, 30

Average customer rating:

My favorite Waldstein Sonata

Beethoven: Piano Sonatas Nos. 8, 14, 21, 30

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002S7M
Release Date: 1996-08-13

Customer Reviews:

My favorite Waldstein Sonata.......1998-12-03

Years ago, I discovered this recording as an LP, but until it was re-released as a CD recently, I could never find a performance of the Waldstein Sonata (No. 21, Op. 53) that I liked as much on CD. I have a number of recordings of this sonata--most of which have some merits. Alexei Lubimov's on fortepiano is the one other favorite: particularly to be enjoyed for the sonorities that only an original instrument can bring out. Firkusny, like many other performers, carries off the inevitable forward motion of the first movement in the Waldstein. His treatment of the last movement, however, is unique among those I have heard. There is quality of dream-like suspension, especially in the main bell-like theme, that adds a spell-binding dimension to this glittering, virtuosic movement. Even if you've heard this sonata hundreds of times (as I have), you'll hear it differently in this recording. There is much also to be enjoyed in the other performances on this CD.

Beethoven: Piano Sonatas, Vol. 1 - Nos, 1-3, 5-10, 12-14

Average customer rating:

A joke
worth a listen but there are better recordings
Very Interesting
Gould Realizes Beethoven...
no 'original intent'

Beethoven: Piano Sonatas, Vol. 1 - Nos, 1-3, 5-10, 12-14

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000028NX
Release Date: 1994-04-19

Tracks:

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

Tracks:

Sonata No.5 In C Minor, Op.10, No.1: I. Allegro molto e con brio
Sonata No.5 In C Minor, Op.10, No.1: II. Adagio molto
Sonata No.5 In C Minor, Op.10, No.1: III. Finale. Prestissimo
Sonata No.6 In F Major, Op.10, No.2: I. Allegro
Sonata No.6 In F Major, Op.10, No.2: II. Allegretto
Sonata No.6 In F Major, Op.10, No.2: III. Presto
Sonata No.7 In D Major, Op.10, No.3: I. Presto
Sonata No.7 In D Major, Op.10, No.3: II. Largo e mesto
Sonata No.7 In D Major, Op.10, No.3: III. Menuetto. Allegro
Sonata No.7 In D Major, Op.10, No.3: IV. Rondo. Allegro
Sonata No.12 In A-Flat Major, Op.26: I. Andante con Variazioni
Sonata No.12 In A-Flat Major, Op.26: II. Scherzo. Allegro molto
Sonata No.12 In A-Flat Major, Op.26: III. Marcia funebre sulla morte d'un Eroe
Sonata No.12 In A-Flat Major, Op.26: IV. Allegro

Tracks:

SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': I. Grave - Allegro di molto e com brio
SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': II. Adatio cantabile
SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': III. Rondo. Allegro
Sonata No.9 In E Major, Op.14, No. 1: I . Allegro
Sonata No.9 In E Major, Op.14, No. 1: II. Allegretto
Sonata No.9 In E Major, Op.14, No. 1: III. Rondo. Allegro comodo
Sonata No.10 In G Major, Op.14, No.2: I. Allegro
Sonata No.10 In G Major, Op.14, No.2: II. Andante
Sonata No.10 In G Major, Op.14, No.2: III. Scherzo. Allegro assai
Sonata No.13 In E-Flat Major, Op.27, No.1: I. Andante - Allegro - Tempo I. - attacca:
Sonata No.13 In E-Flat Major, Op.27, No.1: II. Allegro molto e vivace - attacca:
Sonata No.13 In E-Flat Major, Op.27, No.1: III. Adagio con espressione - attacca:
Sonata No.13 In E-Flat Major, Op.27, No.1: IV. Allegro vivace
Sonata No.14 In C-Sharp Minor, Op.27, No.2 'Moonlight': I. Adagio sostenuto - attacca:
Sonata No.14 In C-Sharp Minor, Op.27, No.2 'Moonlight': II. Allegretto - attacca:
Sonata No.14 In C-Sharp Minor, Op.27, No.2 'Moonlight': III. Presto agitato

Customer Reviews:

A joke.......2005-07-15

Glenn Gould fans have got to be the most annoying people on the planet. As for the sonatas, I don't even know why they are stretched out over three disc, they could've compressed them down to one with no quality loss.

Everything you will get out of listening to these can be gotten from the Amazon.com preview samples. Listen, have a laugh, and save yourself some money.

worth a listen but there are better recordings.......2005-06-21

This is actually a review for vols. I and II. Just in general, Gould's style is fantastic for some of the sonatas but is really inappropriate for others.
His portamento (detached) presto/prestissimo playing makes the "Tempest" sonata the best version I've ever heard but really makes the "Pathetique" seem rushed and totally without feeling.
I mostly bought vol. II for the last 3 sonatas (op. 109, 110 and 111). I figured the most unusual and most "un-Beethovanic" of the sonatas deserved the most unusual interpretation, and I wasn't disappointed. They are clear and with good "diction", fast where appropriate but also slow and legato where melodic and flowing. Even in the most technically difficult sections Gould, in typical contrapunctal style, weaves the different voices in and out of the melody holding to his philosophy that "Every voice is important".
Probably the most disappointing of all the recordings on these 2 sets is the "Appassionata". Playing it through at practice speed does nothing for the passion, depth and beauty of this piece and only serves to exemplify Gould's hatred for it. (Typically, if Gould hated a piece, he would play it through either blindingly fast and without regard for dynamics or lethargically slow to heighten its inferiority and "boringness".
The "moonlight" seems a little fast, esp. the first movement, but it might be Gould's literal interpretation of 2/2 time. The 3rd movement is at breakneck speed that some people might like.
I actually prefer the romantic-style playing of R. Serkin, Brendel and Horowicz for this piece.
Listen to the 2nd movement of the #13 where the left and right hands are playing parallel arpeggios. In the 1st section the notes are played together but in the second section the hands are staggered by an 8th (the left hand plays the note 1/8th before the right). I have never heard a piano make that kind of ethereal echoing sound and, I suppose, it probably cannot be reproduced without the kind of fast detached playing that only Gould could do.
So, no one recording artist has the best performance of all the Beethoven sonatas. With Gould, you'll get excellent interpretations of some of the lesser known works and less adherence to the romantic style of the better known "named" sonatas.

Very Interesting.......2005-04-01

This is one of the most interesting CD's I've ever listened to. Gould's playing is unique; sometimes he makes Beethoven sound almost as if he had lived in Bach's days.

I'd recommand that you compare Gould's first movement of the first sonata to that of any good "conventional" pianist (Goode, Kovacevich, Brendel, Kempff, Ashkenazy, to name a few; too bad Gilels died before he could record it). Some of you might find Gould's approach worthy indeed.

Gould Realizes Beethoven..........2005-01-17

These are great recordings. Gould realizes Beethoven: he sees what's there, not merely playing the notes, but understanding the vision. He takes some movements very briskly; others, he expands to a heavenly length.

Frequently, these earlier works of Beethoven are marginalized by his later, greater works; still, these pieces are works of pure art, and Gould sees this and brings them to vivid life.

About the sound: these tracks were recorded over a 15-year period. Sony has done a wonderful job with its "Super Bit Mapping" techne; still, there are a few quirks embedded in the recordings which cannot be removed: specifically, a little "ticking" from Gould's Steinway on the '60s tracks. At that time, Gould was tinkering with his piano to achieve a certain feel to the keys--a kind of immediacy and tactile ease of stroke--by removing the bushings which padded the key mechanism. As a result, he got the feel he wanted, but was also stuck with "ticking" keys. This doesn't bother me, as the results speak for themselves: an aesthetic vision of unparalleled ecstasy. Nevertheless, the "ticks" are audible sometimes: it's part of the art and vision.

no 'original intent'.......2004-05-02

Gould's interpretations compliment the complaints I've read, about 'original intent' by introducing his own - one that has worked itself thru the entirety of Modernism and that seems to have maintained momentum, even past death...into OUR present. The digits march to our more open sense of time - space is a suspension, like in a Ran Blake cd - these are Beethoven Sonatas that Babbitt or Bartok could have composed at a minimalist cafe`.

Beethoven: Piano Sonatas Nos. 8, 14, 15, 17, 21, 23, 26 [Germany]

Average customer rating:

Historic recordings by a legendary pianist

Beethoven: Piano Sonatas Nos. 8, 14, 15, 17, 21, 23, 26 [Germany]
Wilhelm Backhaus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000066SBC
Release Date: 2005-07-07

Tracks:

Piano Sonata No.8 In C Minor, Op.13 'Pathetique'
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight'
Piano Sonata No.23 In F Minor, Op.57 'Appassionata'
Piano Sonata No.26 In E Flat Major, Op.81a 'Les Adieux'
Piano Sonata No.15 In D Major, Op.28 'Pastoral'
Piano Sonata No.17 In D Minor, Op31 No.2 'Tempest'
Piano Sonata No.21 In C Major, Op.53 'Waldstein'

Customer Reviews:

Historic recordings by a legendary pianist.......2007-02-16

The veteran Beethovenian Wilhelm Backhaus (b. 1884, just two years after Schnabel) was in his mid 70s when the earliest of these wonderful stereo recordings was made in 1959. so what we get in this two-disc set is a rare, hi-fi glimpse of a prolific and legendary performer with 19th century roots and a ton of 20th century experience. Backhaus rewards his listeners with a mature, even autumnal artistic sensibility which suffers no corresponding lack of youthful vibrancy. I would describe these as authoritative performances. Nice sound, too.

Incidentally, in my set, Disc 1 is mislabeled Disc 2, and vice-versa. This minor glitch notwithstanding, the set earns my most enthusiastic recommendation!

Listen and understand.

Average customer rating:

Beethoven: Romances Nos. 1 & 2; Sonatas
Ludwig van Beethoven , Alberto Lizzio , Philharmonia Slavonica , Jan Czerkow , and Dieter Goldmann
Manufacturer: Ent. Media Partners
ProductGroup: Music
Binding: Audio CD

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Beethoven: Sonatas Op 13 'Pathetique', Op 14 Nos 1 & 2, Op 22 (Complete Works for Solo Piano Vol 1) /Brautigam

Average customer rating:

Wonderful playing on a superb instrument
Yes, it's THAT good!
Beginning of a fabulous Beethovven Sonata cycle?
Heralding a breakthrough series of Beethoven keyboard wks

Beethoven: Sonatas Op 13 'Pathetique', Op 14 Nos 1 & 2, Op 22 (Complete Works for Solo Piano Vol 1) /Brautigam
Ludwig van Beethoven , and Ronald Brautigam
Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

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ASIN: B00066K0HQ
Release Date: 2005-01-25

Customer Reviews:

Wonderful playing on a superb instrument.......2005-07-01

I debated for a long time before buying this SACD - simply because while I had appreciated other fortepiano recordings I owned, they never replaced recordings on a modern grand piano. Also, of course, I had other versions of these works, particularly the Pathetique.

Still within a few bars of this excellent recording, my fears were banished. The fortepiano Brautigam used (a copy of an original) is one hell of an instrument: no tinkly passagework or lack of sustaining power here. In fact the crushing chord which opens the Pathetique (and reappears later) has more impact in this reading than in virtually any other I've heard.

To be honest I'm amazed this thin-legged instrument featured in the booklet can produce such powerful sounds - or survive such playing! The bass response is remarkable, which coupled with Brautigam's phenomenal articulation (particularly of ornaments which emerge with great clarity) and his urgent tempi makes this a really dramatic performance which I would put near, if not at, the top of my favourite Beethoven sonata recordings. Wisely Brautigam adots a fairly flowing tempo for the Adagio Cantabile as this is one area of keyboard playing where the modern piano has the edge.

A word about the sound quality - it's superb in multichannel. Incredibly vivid sound, with the fortepiano placed securely on a perfectly realistic soundstage. Rear channel use is ideal, securing the aural image. As I've mentioned, the bass is perfectly focused, adding real weight to the interpretations. The detail in the mid- and high-registers is also wonderful.

The two op.14 sonatas on the disc are slighter works but given excellent performances - I don't know them as well as the final work, the Sonata No.11 op.22. This is one of my favourites, especially for its amusing theme and variations finale, which here is played rather more dramatically than usual. Richard Goode's performance on Nonesuch has been my benchmark for a few years, but Brautigam is nearly as good (if you'll excuse the pun) - occasionally his non-legato phrasing compromises the droll elegance, though the dramatic interludes in this finale come across more vividly to even things out.

I'd give this a very strong recommendation, and I'll certainly be buying subsequent volumes (the second one is released in August).

If you have worries about the sound of the fortepiano, my advice is don't be concerned, this instrument sounds full and impressive. With Brautigam's virtuosic and thoroughly Beethovenian performances one really hears what early audiences must have experienced with the composer at the keyboard.

Yes, it's THAT good!.......2005-06-08

Another recording of the Beethoven piano sonatas? Well, it had better be pretty special, and have something new to say. And this indeed is an outstanding recording in every way. Fabulous sound quality. Excellent choice of instrument - a fortepiano, yes, but one with incredible range and tone. The ear quickly adjusts to the sound, and the performance is so good you almost forget you are listening to a "period" instrument (actually, it's a modern fortepiano). The performance is exciting, dynamic, emotionally involving, intellectually stimulating...yes, it's THAT good! Buy this disc! Even better than Brautigam's outstanding Haydn and Mozart cycles.

Beginning of a fabulous Beethovven Sonata cycle?.......2005-05-25

This is the only fortepiano recording of Beethoven's music I have ever heard that to me conveys the full power, drama, and clarity of Beethoven's groundbreaking achievements. This is a full range piano sound, just not the sound of the modern concert grand. The playing is absolutely outstanding and I will eagerly anticipate each volume in this cycle, and hope that the concertos will also be forthcoming. A revelatory experience not to be missed!

Heralding a breakthrough series of Beethoven keyboard wks.......2005-05-17

After the first 30 seconds of the op 13 sonata, anyone holding onto the idea that the fortepiano is too lightweight to do justice to Beethoven's mighty sonatas must either repent or leave the room. Ronald Brautigam has once again embarked on a series of solo keyboard recordings in repertoire crowded with classic perfomrances from world famous artists; but, of course, Brautigam uses period instruments.

First, it was a Mozart cycle on BIS that brought Brautigam into the limelight. Before that series was even finished, a Haydn cycle was undertaken. Both series exhibit a tremendous virtuosity while dispelling misconceptions about the potential range of expression from a fortepiano. Brautigam's readings challenge such well known stars as Brendel, Barenboim, Gieseking, Uchida, and more.

But who would expect that Brautigam could approach the genius of a Schnabel, Brendel, Pollini, Gilels, Kempff, Rubinstein, or hordes of other legends whose names have graced dozens of outstanding recorded performances over the decades, and on a fortepiano at that. Make no mistake about it, I do not suggest that Brautigam surpasses any of these hall-of-fame artists, but he certainly joins them.

The first work on this disk, the "Pathetique", speaks well for the remainder of the four sonatas represented here, and hopefully for the rest of the series too. The first movement has incredible dynamic range. Hearing the recording for the first time, I was overwhelmed by the impact of some of the climaxes. Comparing the reading to conventional intrument recordings, I am reminded of being at the top of 13,000 foot high Mount Shasta many years ago. It was breathtaking, but because all of the surrounding hills were so high also, the effect bore no comparison to some overlooks around Death Valley, where 10,000+ high peaks rise up over a valley that is below sea level. With the instrument Brautigam uses in this recording, the quiet passages are like the low points in Death Valley with the climaxes being like the 10,000 foot peaks around the rim of Death Valley. And the effect is magnificent. In the slow movement, Brautigam has even more expressive abilities at his fingertips, capturing the quiet sublimity of Beethoven's textures with much more breadth than would be possible on a modern piano. And the fast rhythms of the finale dance with great excitement.

As always, BIS excels in the recording with awesome accoustics. And, for no extra charge, you get this in a hybrid CD that can be played on a normal CD player, but will yield even finer results on an SACD player if you have/get one.

Lets hope BIS can stay with the series until it finishes. Many record companies have pulled the plugs on long series in recent years. BIS has yet to do so with any of their spectacular complete editions. Keep up the good work, BIS.

Great Recordings Of The Century - Beethoven: Piano Sonatas nos. 8, 14 & 23 / Barenboim

Average customer rating:

A one-man museum of romantic gestures
Mixed bag - more good than bad
enjoyable
Uninteresting throughout
Disappointing Set

Great Recordings Of The Century - Beethoven: Piano Sonatas nos. 8, 14 & 23 / Barenboim
Daniel Barenboim
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000K4FA
Release Date: 1999-09-14

Tracks:

Piano Sonata No. 8 In C Minor, Op. 13 'Pathetique': I. Grave - Allegro molto e con brio
Piano Sonata No. 8 In C Minor, Op. 13 'Pathetique': II. Adagio cantabile
Piano Sonata No. 8 In C Minor, Op. 13 'Pathetique': III. Rondo (Allegro)
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight': I. Adagio sostenuto
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight': II. Allegretto & Trio
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight': III. Presto agitato
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': I. Allegro assai
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': II. Andante con moto
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': III. Allegro ma non troppo - Presto

Amazon.com

Daniel Barenboim was in his mid-to-late 20s when he recorded all 32 Beethoven sonatas for EMI. His expansive tempos and rhetorical attitude, however, suggest the musings of a weathered veteran of the German school. At this stage in his career, there was no question that Barenboim¹s instinct for Beethoven's confrontational style was genuine and deeply felt. Yet, there's a self-conscious aura surrounding the pianist's accentuations, breath pauses, and tempo fluctuations. These expressive devices seem grafted onto the music, rather than emerging as organic components of a more internalized vision. True, Barenboim's torrential dash through the Moonlight Sonata's hard-to-control finale and the Appassionata's fiery opening pack a cathartic wallop. But Claudio Arrau's similarly conceived yet more technically polished and musically seasoned versions surpass Barenboim's aspirations to be the Furtwängler of the piano. Incidentally, Barenboim eschews Beethoven's crucial third-movement repeat in the Appassionata. For headlong brio and terse concentration, Rudolf Serkin's 1963 traversals of these oft-recorded "name" sonatas for CBS deserve a sonic facelift on the order of EMI's beautiful, lifelike remastering here. --Jed Distler

Customer Reviews:

A one-man museum of romantic gestures.......2006-06-01

In his late twenties, in the first flush of fame on the EMI label, Barenboim did some remarkable things. His Brahms concertos with Barbirolli and the five Beethoven concertos with Klemperer have enormous virtues. Maybe he needed an older, steadier hand, because left to his own devices, Barenboim clearly wanted to be part of the Great Tradition without having the experience or depth required--at least not in the Beethoven sonatas. He was (and is) a strange case of enormous talent desperate to overreach.

Sometimes he relaxes into his natural musicianship, as in the flowing first movement of the Moonlight sonata. Sometimes he seems a bit lost and therefore resorts to the Arrau-Backhaus school of weighty seriousness, as in the opening of the Appassionata. At his worst he makes a hash of romantic cliches, as in the first movement of Les Adieux. "Mostly enjoyable," as one reviewer puts it, but the Amazon review is dead on target: too much feels self-conscious and applied from the outside.

Mixed bag - more good than bad.......2004-08-16

I was kind of surprised that the other reviewers here were in such ferocious debate over the CD, since I bought it before reading reviews, and liked it...but a few more listens have proven some of the criticisms (though not all).

Pathetique: A very good rendition. Some people take exception with the slow intro, but I rather like it. The disc's booklet says Barenboim considers the sonata "the birth of the Romantic era" and doesn't "politely evade" the slow intro - definitely true. I think it gives the piece a darker cast, a bit of real color - and makes the following first movement seem even more furious. The slow movement's taken a bit fast, but then I have been told that I advocate VERY slow tempi for both this and the Fur Elise...so probably it isn't a bit fast really. Only real complaint - a few wrong notes in the outer movements, but nothing to skip the CD over.

Moonlight: When I agree with my mom, you KNOW it's done right. And we both agree that the first movement is done beautifully, heartbreakingly. I don't like the scherzo, no matter how it's played, so I can't tell you if it is played well. The finale is played very well, and here Barenboim shows his technical skill. (EDIT: Okay, maybe not. He's outdone by budget-disc phenom Jeno Jando, who plays it 30 seconds faster and nails every. single. note. WOW - knockout performance for Mr. Jando...but the Barenboim is still okay.)

Appassionata: First two movements done well, and I like the tempo on the slow movement (it's actually, well, slow), but the whole skipping-part-of-the-finale thing is not good, not excusable, and only barely forgiveable. (I also reviewed a version of Mozart's 41st where the finale is sliced up - I hate that kind of "edit". grr)

So there are some flaws, including wrong notes in the first track and rather dull moments elsewhere (plus the big omission), but the rest of it is just fine and Dan Barenboim does NOT deserve the fiercely angry comments of some reviewers on this page. Consider buying this CD if you are really fanatical about the sonatas here, but if you want just one version of them, look elsewhere first.

One final comment: the producer is one Suvi Raj Grubb, a bald Indian guy who just so happened to produce several Itzhak Perlman recordings. This guy must have had an eye for talented young musicians!

enjoyable.......2004-05-15

The exceedingly slow tempi of the Pathetique's opening bars and the Appassionata's Andante con moto were definitely the two things I noticed right off the bat about this recording. A criticism might be that Barenboim plays either with extreme languor or with extreme speed.

However, this recording has grown on me since I first listened to it. While I was certainly accustomed to faster playing, it later seemed to me that Barenboim was savouring each note, and that there was a lot of contemplation behind every strike of the key. Certainly as a listener, one has the time to think about every chord and appreciate the notes and melodic lines that Barenboim draws out, particularly in the Appassionata's second movement.

I do not own the recordings by Schnabel or Brendel so I can't compare. I would say, though, that this recording by Barenboim was a valuable addition to my collection. By virtue of his perhaps exaggerated tempi and dynamics, the listener receives the impression that Barenboim feels the music and is not just going through musical motions of crescendo, diminuendo, articulation, etc. I mean that this is generally a less sterile performance than others. The instrument itself complements this aspect, as its tone and clarity have not been stripped of resonance (as I find many recordings are wont to do).

In short: 4 stars. If you know your Beethoven, then be forewarned that Barenboim's tempo decisions might put you off. For a casual listener, though, I'd definitely recommend this disc.

Uninteresting throughout.......2004-03-29

Barenboim's playing of these three famous sonatas perfectly summarizes his playing of the other twenty-nine: unfelt, not musical, forgetting dynamic accents and staccato marks, too loud in the forte and too soft in the piano sections. I don't hear any spontaneity here, nor freshness, drama or even passion. These are party recordings at their best. The slow movements of all three sonatas are uniformly flat that it's hard to keep your attention with them. The fast movements suffer either from thorough dullness (he plays all the notes of the first movements of both Pathetique and Appassionata but that's about it) or, even worse, dullness in combination with banging (the final movements of all three sonatas). I've never heard the main theme in the last movement of the Appassionata sound this boring. Nor have I heard anyone play the movement's last minute this ugly. And he omits the repeat! The Mondschein's final: same story. There are SO many better recordings of these three sonatas that it's rather ashaming to see EMI put Barenboim's recordings in the 'great recordings of the century' series. EMI is that company that has a load of great Beethoven recordings by Edwin Fischer lying in its store vaults, but seemlingly prefers to release mediocre, dull readings like these. Anyway, if you want to hear these pieces in better renditions, you'd best go for Arrau's disc with these three sonatas on Philips (which is cheaper too), Brendel's two-fer with the 'favourite' sonatas or Gilels' recordings on DG. For an entire sonatas set, Kovacevich is also recommended. Barenboim's readings of Beethoven are thoroughly uninteresting and don't deserve any attention in such a crowded catalogue.

Disappointing Set.......2002-04-30

I was truly distraught when I brought this disc home and listened to the opening bars of the "Pathetique": the tempo was so slow it actually belied the concept of "tempo." So slow the music seemed to pull apart at the seams. I'm usually all for a more extreme reading of tempo markings, particularly with Beethoven, but there has to be some restraint, and I think Barenboim missed the mark here. Too bad, because the playing is otherwise excellent, and he hits the nail on the head, it seems to me, with the more energetic allegros. Unfortunately, I cannot recommend a disc of sonatas wherein each of the slow movements serves as an annoying distraction to the superior performances of the fast movements. Try Brendel (3rd cycle), Kempff, or Schnabel for a more even reading of some of the most wonderful music ever composed.

Beethoven: Piano Concerto No. 5 "Emperor"; Piano Sonatas Nos. 8 "Pathétique" & 14 "Moonlight"

Average customer rating:

In search of original visions!
Lightening Caught In A Bottle
Brilliant Budget Beethoven

Beethoven: Piano Concerto No. 5 "Emperor"; Piano Sonatas Nos. 8 "Pathétique" & 14 "Moonlight"

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: Piano Concerto No. 5 "Emperor"
Tchaikovsky: Violin Concerto Op35; Brahms: Violin Concerto in D Op77

ASIN: B000A2ES8S
Release Date: 2005-11-22

Tracks:

I. Allegro
II. Adagio Un Poco Mosso
III. Rondo: Allegro
I. Grave - Allegro Molto E Con Brio
II. Adagio Cantabile
III. Rondo: Allegro
I. Adagio Sostenuto
II. Allegretto
III. Presto Agitato

Customer Reviews:

In search of original visions!.......2007-04-13

Bruno Leonardo Gelber is one of these remarkable pianists whose phrasing is like a poet describing his impressions and memories. His full commitment with the music is absolute; always worrying by searching unknown aspects of the work; gifted of powerful tune, his lyricism is not extent of noblesse, a feature so common in the great exponents of the piano. As a matter of fact,I had the privileged opportunity to watch him twicein Caracas in the famous Concert Hall, bebst known as Aula Magna of the Venezuelan Central University; the first one playing Prokoviev' s Third Piano Concerto and the other one with Rachmaninov' s Third.

This version of the Emperor, is far from being another splendid firework, on the other hand he is conscious of the specific weight of the Op. Introspective, reflexive, propulsive, epic and crepuscular, this performance exudes that coveted seal of honesty.

In these times where the homogeneity and the sonorous effects seem to prevail over the spirit of the work, it would be very convenient to take a look around this artist, because we should never forget that Ferdinand Leitner who conducted to Wilhelm Kempff, few years ago, that's a good point of reference by itself.

Lightening Caught In A Bottle.......2006-11-20

This Emperor is simply BLISTERING and is in my opinion the most electrifying version available alongside the Szell/Fleisher recording.
Bruno Gelber plays with a scintilating crisp articulate speed combined with refined elegant expressive phrasing making his passages dazzle and astound.
He takes a most heroic view of the piece and delivers a performance of guts and passionate glory as heard in movement 1.
Heartfelt delicate poetic phrasing is abundant in the 2nd movement and the 3rd movement takes flight with crackling inspiration and never lets up.
Ferdinand Leitner throughout provides rock solid orchestral support with the Philharmonia playing very well indeed but Leitner has just a bit more gusto and fire here than in his famed recording with Wilhelm Kempff.
So if you're looking for a take no prisoners Emperor that will kick you in the teeth then you've found it.
The bonus Pathetique and Moonlight sonatas are just icing on the cake and offer further proof that Arthur Rubinstein was right when he called Bruno Gelber "a Marvel".
Don't pass up this incredible God send of a bargain because it's simply one of the best.

Stratcat (O.F.)

Brilliant Budget Beethoven.......2006-01-11

Don't you just love it when classic recordings get reissued on CD at a budget price! Such is the case with this title in EMI's "Encore" series featuring Beethoven's "Emporer" Concerto, and "Pathetique" and "Moonlight" Sonatas. This was my first album by Bruno Leonardo Gelber but his reputation proceeded him a connoisseur's pianist. In my opinion this is the perfect example of a CD that easily could have been licensed out to the folks at Testament, instead of being reissued here on the mother label. EMI's marketing department made a bold move, as I am surpised this title is being made available at all, let alone such a low price, but it is we the fans who benefit because these are brilliant Beethoven performances. First comes Concerto No. 5 which is conducted by Ferdinand Leitner leading the Philharmonia Orchestra from 1966. Leitner is well known in classical music circles as the man who ably backed Wilhelm Kempff in his stereo Beethoven PC Cycle for DG, made with the Berlin Philharmonic earlier that same decade and regarded by many as the best ever committed to disc. Well, this too is one of the best Emporers I have heard. Leitner and the Philharmonia sound incredible here, and Gelber's playing is fiery and powerful. A classical novice or aficionado would be hard pressed to find a more convincing account. By contrast, I found his readings of the two Sonatas made in the 1970s to be delicate and graceful. Of course each piece features movements requiring their own speed and precision, but my overall impression of Gelber as a soloist was one of serenity, clarity and true passion. In all, this is another stunning "Encore" from the folks at EMI.

Beethoven: Piano Sonatas Nos 8, 14, 23, 30

Average customer rating:

Diamantine performances!
WHAT BEETHOVEN IS ALL ABOUT

Beethoven: Piano Sonatas Nos 8, 14, 23, 30

Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000AH3EN
Release Date: 2003-09-01

Tracks:

Grave- Allegro Di Molto Et Con Brio
Adagio Cantabile
Rondo, Allegro
Adagio Sostenuto
Allegretto
Presto Agitato
Allegro Assai
Andante Con Moto
Allegro Ma Non Troppo- Presto
Vivace, Ma Non Troppo- Adagio Espressivo
Prestissimo
Gesangvoll, Mit Innigster Empfindung

Album Details

First Time on CD. Digitally Remastered.

Customer Reviews:

Diamantine performances!.......2005-03-22

In those years Serkin was in the peak of his powers; evidently his meetings with Adolf Busch and eventually his periodic encounters in Prades made him grow up to unexpected levels. Casals could call any musician he wanted, he was a supreme musical authority in the world, I presume this fact is a relevant proof about the intense musicianship and tonal splendor in the early thirties reached major levels. His encounter with Busch quartet kept the European approach and then Prades and specifically his works with Casals performing Beethoven's cello sonatas elevated him to cosmic heights.

Precisely these seven years were extremely creative. His Waldstein's performance is among the top, the Sonata 30 is very interesting and so the Patetique is superb too. With the Appassionata I rather prefer his version of 1957 in Lugano.

It' s important to remark his invaluable collaboration with Budapest's string quartet . His reading of the Piano quintet Op. 34 is absolutely definitive and his Diabelli variations are among the best in the market.

So consider this album as a real must to acquire all the way. If you want to have in your collection a golden album, go for this historical recordings.

WHAT BEETHOVEN IS ALL ABOUT.......2004-03-26

I should imagine that the admirers of this great player will be swooping on this reissue. The four performances here date from the period 1941 to 1952 when he was at the absolute peak of his powers. He did a post-war disc of the Appassionata, Pathetique and `Moonlight', but the only other op 109 that I know of from him is included in the posthumous set, issued by Peter Serkin, of performances that he himself had originally refused to release. In addition there is an Appassionata in his 1957 Lugano recital, plus at least one other on a disc of a live performance available in Canada. The recorded quality here does not permit a 5-star rating in the year 2004, but it is not bad at all and presumably will not deter those grateful to get anything they can from this greatest of Beethoven-players.

The Pathetique is very like his post-war recording only more so, to use an awkward expression. The outer movements are lithe and athletic, the first movement is even a tad faster here, and as always he includes the opening Grave in the repeat. Where I distinctly prefer this account is in the slow movement where there is much more warmth than in his slightly solemn later reading. In op 27/2 it is an intense pleasure to come back to Serkin after listening to certain other accounts. I have a deep and rooted dislike of genteel and prettified playing in the first movement such as I am served up by Ashkenazy and Lupu, not so much moonlight as moonshine. Serkin takes it very slowly and with very little overt rubato, and even in a 1941 recording I can still detect his special way of keeping the sound resonating in the left-hand octaves - he used to pump the keys silently. The middle movement is much as he always did it - slowish, very stylised and with a kind of `curtseying' feel about the rhythm in the outer sections, and a strong and emphatic tone in the left hand in the trio. The last movement is even better than in the post-war issue. I have heard it played as fast as Serkin does it, but never as well. There is absolutely no pedal in the rising arpeggios, and this time there is not even the minutest hint of a hesitation as he repositions his hand from above the treble to deep in the bass. This particular trick was a favourite of Richter's, and in passing it has always interested me that Michelangeli, probably the greatest keyboard technician there has ever been, seemed to scorn the effect. Where the right hand had to change its locus in such an abrupt way Michelangeli, far from seeking seamless continuity, used typically to make a great gulping hiatus. Where the 1941 recording can't equal the later one is in the great chomping chords near the end of the exposition and recapitulation. Serkin `orchestrated' these in a quite extraordinary way that the early recording doesn't capture, but one can't have everything.

There are now three Appassionatas from him in my collection, and in terms purely of the performances there is very little indeed to choose. My favourite by a very small margin is probably still in his 1957 live Lugano record, despite a couple of wrong notes at the height of the fury in the middle of the first movement. Where that scores is in a completely outstanding performance of the andante plus the way he delivers the theme of the finale in a sinister mezza voce. I still miss the way he seemed near to splintering the keyboard in the post-war record during the fortissimo chords immediately after the start, and even a very curious touch at the end of the first phrase in the sonata. On the post-war record there is a curious twang on the last note. I had always taken this as a pressing fault until one day I heard him live, and there, not 3 metres from me, he produced exactly the same effect. Goodness knows how it was done, much less what he meant by it. The finale, of course, is taken at the speed Beethoven was very careful to indicate, although interestingly Serkin does the transition a bit faster this time before slowing down to his normal tempo. The op 109 is distinctly preferable to the posthumous account, the first movement rather livelier and with less pedal, and the prestissimo more as I envisage that tempo. The final andante with variations is awesomely grave and beautiful, although I still wonder whether the main speed is really `andante'. It would definitely be slow for the middle movement of the 5th piano concerto, marked `adagio un poco mosso'. As the variations unfolded I soon stopped worrying about that.

Beethoven lovers - miss this one if you want. I didn't.

Music Review: