Beethoven: Piano Sonatas, Vol. 2

Editorial Reviews
Amazon.com
Beethoven's Farewell Sonata has three movements--departure, absence, and return--that perfectly capture the emotions they express. The first movement had a powerful influence on Mahler's Ninth Symphony, which quotes it literally on several occasions. The Waldstein and Tempest Sonatas are, in many respects, quintessential Beethoven: passionate, turbulent, but always formally perfect. Jeno Jando's survey of Beethoven sonatas on Naxos has been extremely successful--much more so than several other pianists on more expensive, full-priced labels. His second volume isn't just a good deal for the money, it's a good deal, period. --David Hurwitz

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

Alfred Brendel Plays Beethoven Piano Sonatas, Vol. III

Average customer rating:

AMONG THE BEST!
Brendel plays Bethoven in his own way
early Beethoven played sweetly

Alfred Brendel Plays Beethoven Piano Sonatas, Vol. III

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

General | Classical | Styles | Music

Alfred Brendel Plays Beethoven, Vol. 4
Alfred Brendel Plays Beethoven Piano Sonatas, Vol. 2
Alfred Brendel plays Beethoven Piano Sonatas, Vol. 1
Beethoven: Variations & Vignettes
Beethoven: The Late Piano Sonatas

ASIN: B000001K34
Release Date: 1992-11-04

Tracks:

Sonata No. 1 In F Minor, Op. 2, No. 1: Movement I: Allegro
Sonata No. 1 In F Minor, Op. 2, No. 1: Movement II: Adagio
Sonata No. 1 In F Minor, Op. 2, No. 1: Movement III: Minuetto-Allegretto
Sonata No. 1 In F Minor, Op. 2, No. 1: Movement IV: Prestissimo
Sonata No. 25 In G Major, Op. 79: Movement I: Presto alla tedesca
Sonata No. 25 In G Major, Op. 79: Movement II: Andante
Sonata No. 25 In G Major, Op. 79: Movement III: Vivace
Sonata No. 5 In C Minor, Op. 10, No. 1: Movement I: Allegro molto e con brio
Sonata No. 5 In C Minor, Op. 10, No. 1: Movement II: Adagio molto
Sonata No. 5 In C Minor, Op. 10, No. 1: Movement III: Finale, Prestissimo
Sonata No. 6 In F Major, Op. 10, No. 2: Movement I: Allegro
Sonata No. 6 In F Major, Op. 10, No. 2: Movement II: Allegretto
Sonata No. 6 In F Major, Op. 10, No. 2: Movement III: Finale, Presto
Sonata No. 9 In E Major, Op. 14, No. 1: Movement I: Allegro
Sonata No. 9 In E Major, Op. 14, No. 1: Movement II: Allegretto
Sonata No. 9 In E Major, Op. 14, No. 1: Movement III: Rondo; Allegro commodo

Tracks:

Sonata No. 10 In G Major, Op. 14, No. 2: Movement I: Allegro
Sonata No. 10 In G Major, Op. 14, No. 2: Movement II: Andante
Sonata No. 10 In G Major, Op. 14, No. 2: Movement III: Scherzo: Allegro assai
Sonata No. 13 In E-Flat Major, Op. 27. No. 1: Movement I: Andante-Allegro-Andante
Sonata No. 13 In E-Flat Major, Op. 27. No. 1: Movement II: Allegro molto vivace
Sonata No. 13 In E-Flat Major, Op. 27. No. 1: Movement III: Adagio
Sonata No. 13 In E-Flat Major, Op. 27. No. 1: Movement IV: Finale: Allegro vivace
Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': Movement I: Adagio sostenuto
Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': Movement II: Allegretto
Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': Movement III: Presto agitato
Sonata No. 15 In D Major, Op. 28 'Pastoral': Movement I: Allegro
Sonata No. 15 In D Major, Op. 28 'Pastoral': Movement II: Andante
Sonata No. 15 In D Major, Op. 28 'Pastoral': Movement III: Scherzo: Allegro vivace-Trio; Movement IV: Rondo: Allegro non troppo

Customer Reviews:

AMONG THE BEST!.......2006-05-08

One man's viewpoint: Brendel again shows his wonderful, steady sense of rhythm. The miracle is that he can keep it rock-steady or slow it a bit for dramatic effect - only if he wants to. He has control and a clarity of vision/purpose with each piece. So of course he transmits this to us. I also notice the lightness of touch he has. And his limber agility (hard-won, no doubt).
I suggest picking up on all four of Mr. Brendel's Vox recordings of the LVB sonatas. Absolutely wonderful stuff. Also consider his fine, fine Diabelli Variations on Vox. Also I suggest checking out John O'Conor's set. Fantastic! Also Claude Frank has a highly praised set; I may buy this one next (a real bargain).
There are many fine players, so enjoy the search through these piano pieces of such incredible character, nobility, beauty, and boldness. They help develop a love of sound and the fine arts.

Brendel plays Bethoven in his own way.......2006-02-24

He may not have a lyricism of Gilels or force and precision of Sokolov, but along these greatest I love the way he plays No.10 G Major and NO. 15 D Major "Pastoral" and others from this album

early Beethoven played sweetly.......2004-04-25

Brendel always seems to have a penchant for never over-doing things. He's never too loud, never too soft, never too harsh (even with this composer). In all the lyrical sections of these early sonatas, I find this disciplined sense of moderation to be soothing yet intense. For example in the first movement of the "Moonlight" Sonata, the soft and double soft marking are observed with assiduousness. It's subtle and not overly dramatic.

Brendel's technique is more than adequate. I wonder why he is not more of a perfectionist when he plays (as he has said about his playing- "I am not a perfectionist.")

Tracks:

I Grave - Allegro di molto e con brio (Sonata no. 8 Pathetique in C minor)
II Andante cantabile
III Rondo. Allegro
I Allegro con brio (Sonata no. 11 in B flat major)
II Adagio con molto espressione
III Tempo di Menuetto
IV Rondo. Allegretto
I Allegretto ma non troppo (Sonata no. 28 in A major)
II Vivace alla marcia
III Adagio ma non troppo con affetto
IV Allegro ma no troppo

Tracks:

I Allegro (Sonata no. 9 in E major)
II Allegretto
III Rondo. Allegro commodo
I Allegro (Sonata no. 10 in G major)
II Andante
III Scherzo. Allegro assai
I Allegro ma non troppo(Sonata no. 24 in F sharp major)
II Allegro vivace
I Allegro con brio (Sonata no. 21 Waldstein in C major)
II Introduzione. Adagio molto
III Rondo. Allegretto moderato

Tracks:

I Allegro (Sonata no. 27 in E minor)
II Rondo
I Presto all tedesca(Sonata #25 Alla tedesca in G Major)
II Andante
III Vivace
I Allegro (Sonata #29 Hammerklavier in B flat major)
II Scherzo. Assai vivace
III Adagio sostenuto Appassionato e con molto sentimento
IV Largo - Allegro risoluto

Amazon.com

Paul Lewis's traversal of the Beethoven Piano Sonatas may just become one of the indispensable recorded versions of these unique works. He tackles the Hammerklavier without attacking it; his interest is textual clarity, and he never fails in that approach. If you listen to the last movement of No. 25, "Alla tedesco," you'll be amazed by the formality and forward propulsion which underpins the seeming merriment in the piece, the abrupt ending suddenly quite a puzzle. Similarly, the first movement of the Waldstein is imbued with a darkness that makes you think you're hearing much of it for the first time. Lewis's is a serious--some might say grave--approach to these works, but it is not heavy; indeed, his touch remains light when it ought to be, without making the music seem trivial. Each movement lets us in on another one of Beethoven's secrets, and the lyrical moments have never seemed lovelier. This is a very special set, highly recommended. --Robert Levine

Customer Reviews:

Quite astonishing playing!.......2007-02-13

It is certainly possible to imagine different interpretations but never better ones. One forgets the prodigious technique that underlies the melodic magic Paul Lewis seems capable of supplying in an inexhaustible flow. That such a talented artist should be also so modest is quite remarkable; because there seems not the slightest desire to shine for his own sake: one is always aware of the music itself and seldom of the artist who makes it. He is capable of drama, certainly; but above any drama the music might demand, Lewis has a marvelous gift for sweet lucidity and joy, and above all for melody: the most demanding passages quite simply sing [which is actually no simple thing since it is so rare] and are never merely notes achieved, no matter how brilliantly. I feel as though Lewis has given us a glimpse into Beethoven's heart and we find something hitherto hidden but which he reveals with such grace. I wish I could do Paul Lewis as much justice in my description as he has done the composer by his playing. This second volume in his series of the complete Beethoven piano sonatas, along with the companion first volume, deserves much more than the 5 stars permitted us to give.

Satisfactory, but not great.......2007-02-12

This is very serviceable playing and interpretation, but not great playing. The recording is first rate. Great Beethovan players have communicated more in their versions with me than Lewis.

Average customer rating:

Technically brilliant and unflamboyant at the same time

Beethoven: Piano Sonatas, Vol. 2

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Beethoven: Piano Sonatas, Vol. 1
Beethoven: Piano Sonatas, Vol. 4
Beethoven: Piano Sonatas, Vol. 6
Beethoven: Piano Sonatas, Vol. 8
Beethoven: Piano Sonatas, Vol. 7

ASIN: B0000013JB
Release Date: 1992-09-04

Tracks:

Allegro con brio
Introduzione: Molto Adagio, Rondo: Allegretto Moderato
Largo - Allegro
Adagio
Allegretto
Adagio - Allegro (Les Adieux)
Andante Espressivo (Le Retour)

Amazon.com

Beethoven's Farewell Sonata has three movements--departure, absence, and return--that perfectly capture the emotions they express. The first movement had a powerful influence on Mahler's Ninth Symphony, which quotes it literally on several occasions. The Waldstein and Tempest Sonatas are, in many respects, quintessential Beethoven: passionate, turbulent, but always formally perfect. Jeno Jando's survey of Beethoven sonatas on Naxos has been extremely successful--much more so than several other pianists on more expensive, full-priced labels. His second volume isn't just a good deal for the money, it's a good deal, period. --David Hurwitz

Customer Reviews:

Technically brilliant and unflamboyant at the same time.......2004-08-28

This recording from April and June 1987 was the one that introduced me to Beethoven's piano sonatas some years hence, and although there may be some "better" versions around, I must confess that this disc has provided me with hours of listening pleasure and still does so. Its strengths are twofold. First, it contains three of the most fascinating pieces of piano music that have ever been written. The "Waldstein" sonata and "Les Adieux" belong to the "You-just-have-to-know-them" category and have been recorded countless times. The "Tempest" (Sonata Nr. 17) is a little more difficult - from the point of view of the listener, that is - but I find it rewards patient re-listenings. Despite its title, the piece is not really "programme music", it just creates an atmosphere or mood reminiscent of Shakespeare's "Tempest", including some rather eery or mysterious largo passages that immediately conjure up the scene on the magic isle without in any way being narrative. Second, there is Jenö Jando's piano playing. Somehow Jando manages to be technically brilliant and unpretentious, unflamboyant at the same time. The result is that it becomes very easy to immerse oneself in Beethoven's music, to analyse it and to enjoy it. To put it in literary terms, Jando is Beethoven's translator, but not his editor, the music's servant and not its master. In an interview published some years ago in a German-language magazine, Jando made it quite clear that this is a deliberate strategy, and it is one that I find convincing.

On the negative side, I have to say that the recorded sound on this CD is, at best, acceptable. I know you can't apply today's standards to 1987 16-bit recordings, but this one is not remarkable for its quality. There is a certain amount of noise around, a kind of digital mist that swirls around and makes the pianissimo passages sound a good deal more mysterious than they were probably intended to be. The left hand often sounds a little muffled, the right hand a little tinny, not enough to spoil the recording but enough to make me wish it had been done just a little better. I must add, however, that I have the "Waldstein" and "Les Adieux" sonatas on other Cds (Rudolf Buchbinder on Warner Classics and Melvyn Tan playing a fortepiano on EMI/Virgin) and the sound there is equally problem-fraught, I guess it's anything but easy to record a piano played with such a huge dynamic range.

Average customer rating:

Fantastic Fournier

Les Introuvables de Pierre Fournier

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

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Pierre Fournier: Aristocrat of the Cello [United Kingdom]
Bach: 6 Suiten für Violoncello solo
Beethoven: Complete Works for Cello & Piano
Shafran: Russian Archives
Lazar Berman Edition (Box Set)

ASIN: B0000241DO
Release Date: 2002-08-05

Tracks:

Cello Concerto No. 2 In D Major, H. 7b Op. 101
Cello Concerto In A Minor, Op. 129
Phantasiestke (3 Fantasy Pieces) For Clarinet (Or Cello Or Violin) & Piano, Op
Variations On A Rococo Theme, For Cello & Orchestra (Or Cello & Piano) In A Majo
Sonata For Cello & Piano No. 1 In F Major, Op. 5/1
Sonata For Cello & Piano No. 2 In G Minor, Op. 5/2
Sonata For Cello & Piano No. 3 In A Major, Op. 69
Sonata For Cello & Piano No. 4 In C Major, Op. 102/1
Sonata For Cello & Piano No. 5 In D Major, Op. 102/2
Sonata For Arpeggione & Piano In A Minor, D.821
Pieces For Children Big And Small For Piano, 4 Hands Op. 85
Feldeinsamkeit ("Ich Ruhe Still Im Hohen Gren Gras"), Song For Voice & Piano,
Romance For Cello & Piano, Op. 69
Shylock, Incidental Music And Suite For Tenor & Orch., Op. 57
Mavra, Opera Buffa In One Act
Nocturne For Violin (Or Flute) & Piano
Melody In F, Various Arrangements, Op. 3/1
Introduction & Polonaise Brilliante For Cello & Piano In C Major, Op. 3
Song Without Words For Cello & Piano In D Major, Op. 109
Le Coq D'or (The Golden Cockerel; Zolotoy Petushok), Concert Suite For Orchestra
The Tale Of Tsar Saltan, Op. 57
Carnival Of The Animals, Zoological Fantasy For 2 Pianos & Ensemble
Berceuse, For Violin & Piano (Or Orchestra) In D Major, Op. 16
Tonadillas Al Estilo Antiguo, Songs (10) For Voice & Piano, H. 136
Goyescas (Serenata Goyesca; Dusk), For Piano, H. 63
La Gitana For Violin & Piano (After An 18th Century Arabo-Spanish Gypsy Song)
Papillon, For Cello & Piano, Op. 77
L' Enfant Prodigue, Sce Lyrique For Voices & Orchestra, L. 57
Pie En Forme De Habanera, For Solo Instrument & Keyboard (Arr.)
Kaddisch, Song For Voice & Piano (Modie Hraue No. 1)
O Mensch, Bewein' Dein' Sde Gross, Chorale Prelude For Organ (Orgel-Bhlein N
Herzlich Tut Mich Verlangen, Chorale Prelude For Organ, Bwv 727 (Bc K109)
Ich Ruf Zu Dir, Herr Jesu Christ (I), Chorale Prelude For Organ (Orgel-Bhlein
Nun Komm Der Heiden Heiland (I), Chorale Prelude For Organ (Orgel-Bhlein No. 1
Sonata For Cello & Continuo In C Major, G. 6 (Six Sonatas No. 2)

Customer Reviews:

Fantastic Fournier.......2004-02-16

On this 4CD EMI Import, the great cellist Pierre Fournier performs a variety of orchestral and chamber recordings, recorded primarily in mono from the 1940s and early 50s. There are three orchestral works -- Haydn's 2nd Concerto (Kubelik/Philharmonia, 1951), Schumann's Concerto (Sargent/Philharmonia, 1956 in stereo), and Tchaikovsky's Rococo Variations (Bigot/Lamoureux, 1941). Disc two, and half of disc three, contain Beethoven Cello Sonatas with the great Artur Schnabel, while the fourth disc features a variety of pieces, from Bach and Boccherini to Debussy and Ravel, with pianist Gerald Moore. I'm withholding a fifth star because the collection contains mostly historical recordings, though it certainly captures one of history's greatest cellists in his prime. With that being said, "Les Introuvables de Pierre Fournier" is a must buy for cello entusiasts.

Average customer rating:

Fascinatingly fresh readings

Beethoven: The Piano Sonatas, Vol. 2

Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Andras Schiff Ludwig Van Beethoven: The Piano Sonatas Vol. III (3)
Beethoven: Piano Sonatas, Opp. 2 & 7
Beethoven: The Piano Sonatas, Vol. 4: Sonatas Opp. 26, 27 & 28
Beethoven: Complete Music for Piano and Violoncello
Beethoven # 1

ASIN: B000EGFUZA
Release Date: 2006-03-28

Amazon.com

This is the second volume of András Schiff's projected recording, in chronological order, of the complete Beethoven sonatas. It comprises the three sonatas Op. 10 and the "Pathétique" Sonata Op. 13, all written between 1795 and 1798, but quite different in character and feeling. The first, in Beethoven's dramatic tonality of C minor, is turbulent; the second is light-hearted and humorous. The third is most expansive; in four rather than three movements, it includes a lyrical Menuetto with an all too short, delightful Trio, and a profound, grief-stricken slow movement. The "Pathétique," again in C minor, has become a popular favorite for its high drama and its beautiful, song-like middle movement. Its slow introduction recurs several times; Schiff regards it as a thematic and structural part of the movement and includes it in the repeat of the exposition. (He takes all repeats throughout, at times adding discreet ornamentation.) Schiff's playing, as always, is the essence of refinement and elegance. His virtuosity is invariably at the service of the music, even at headlong speeds; his tone sings with beguiling beauty. He commands variety of touch, articulation, dynamics, and inflection; melody and harmonic background are balanced perfectly. (The Angelo Fabbrini piano sounds clear, but less rich and mellow than the Bösendorfer he often uses.) He combines scholarly integrity with inward expressiveness, steadiness with poised liberties; his identification with Beethoven's changing moods is complete. Strangely enough, he subscribes to the old-fashioned habit of letting the left hand anticipate the right and tends to rush certain rhythms, especially before and after crossing hands. But these are minor flaws in masterfully controlled, deeply affecting performances. -- Edith Eisler

Customer Reviews:

Fascinatingly fresh readings.......2007-06-06

Andras Schiff's Beethoven cycle seems to defy classification. Considering this artists unanimous success as a sensitive and intelligent accompanist, a leading interpreter of Schubert and Mozart, and in light of his graceful, lyric readings of the keyboard works of J.S. Bach, it seems as if it would be safe to assume Beethoven's lyric earlier works would respond resplendently to Schiff's delicate touch. But to the contrary, in the first installment of the cycle, Schiff delivered full-bodied approaches that did not always suite the sonatas particularly well. Although the 1st and 2nd sonatas were delightful, a tighter perspective would have yielded a more coherent opus 2, No. 3 and more energy a stronger opus 7. The inconsistencies are still present in this release, but, again, where you would least expect it. Schiff delivers a shockingly convincing Pathetique, one strong on classical musical argument and filled with fresh spontaneity. As for the opus 10 sonatas, they are more of a mixed bag.

Although Schiff claims in the liner notes that he reads the F major sonata as a comic work, little of that humor actually translates into his reading. Schiff draws little humor from the coquettish flourishes that open the piece, nor do the petulant minor outbursts create any real sense of tension and release. The development zips by far too quickly and he creates nothing comic of the false recapitulation. Worse still, the finale lacks any sense of warmth or charm in Schiff's hands. He certainly makes the most of the counterpuntal nature of the work, but the proceeding has a wooden, almost perfunctory ennui that completely misses the mark. Conversely, the allegretto is delightful. Schiff magically coaxes a dark, murky tone from his instrument that is rapt with tension. Best of all, that very tension transitions into the trio magnificently, which incidentally features some of the best playing on the disc. He makes the most of music's somber poignancy, making the return of the minuet theme all the more haunting.

Opus 10, No. 3 features some wonderfully introspective playing from Schiff in the largo, taken at a flowing tempo which allows Schiff to articulate the various moods effectively. The menuetto, just shy of three minutes, is pure charm and the rondo appropriately punchy. The first movement is a bit more problematic, featuring wonderful technical precision married to lively tempos, but marred by a slightly mannered development. Schiff slight hesitations are just that, slight, but they are apparent enough to become tiresome after repeated listenings.

Surprisingly, the two c-minor sonatas are the best on the disc. Schiff (thankfully) trades in his delicate touch and somewhat mannered phrasing for strong rhythms and a sturdy tone.

The first of the opus 10 sonatas responds quite well to the instrument's brighter timbre. He creates some wonderfully dark sonorities in the opening allegro, although Schiff's clipping of the arpeggio theme is slightly aggravating. The second movement goes well enough, although suffering slightly due to the brittle tone in the upper register. The finale, however, is quite delightful. Schiff's nimble technique is dazzling as he navigates between the various moods, especially in the particularly punchy major episodes. By underplaying the coda, Schiff adds a tremendous amount of tension to the closing passages, unusually uneasy behind the mask of a major key.

The "Pathetique" is uniformly spectacular, his best conception within the cycle so far. The sonata opens with an appropriate gravitas that functions within the classical structural parameters of the work. The allegro has great vitality, energy, and a fresh spontaneity that is all together refreshing. And although I personally feel repeating the introduction with the exposition robs the development of some of its shocking novelty, so convincing is Schiff's commitment to his case that it does not bother me one bit. The freshness of the first movement ebbs over into the wonderfully flowing second movement. Schiff shakes off the romantic patina that this movement has amassed over the years, which makes the listening experience akin to seeing a newly cleaned and restored painting. Schiff's usual sensitivity of tone and tasteful accoutrements only add to this gem. Best of all, Schiff reads the finale as a classical rondo in the truest sense, making no attempt to instill grand drama where Beethoven intended none. The episodes fly by with delightful buoyancy, Schiff adding refined embellishments with each return of the rondo theme. The churlish clipping of the final chords is slightly gauche, but on the whole, Schiff succeeds in the seemingly impossible task of delivering a fresh "Pathetique" read (correctly) not as a romantic milestone but rather as a classical sonata struggling to find a voice for Beethoven's developing style.

All in all, the good out weigh the bad in this second release from Andras Schiff, whose cycle, if anything, will be musically fascinating. Although I will never warm to the harsh, overly-bright tone of his instrument, only exacerbated by the microphone placement, Schiff has more than enough to say to warrant adding this release to your collection. And while at times he can sound distant, calculated, or just plain bizarre, he is always saying something interesting, defending his choices with utmost conviction. Fascinating.

Average customer rating:

PERFECT SOUND. AND A HEAP OF TALENT!
Extraordinary...
Great music, good performance - but terrible sound
Great music, good performance - but terrible recording.
great waldstein interpretation

Beethoven: Piano Sonatas, Vol. 2

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Beethoven: Piano Sonatas, Vol. 1
Beethoven: Piano Sonatas, Vol. 3
Beethoven: Piano Sonatas, Vol. 9

ASIN: B000003CUO
Release Date: 1990-10-25

Tracks:

I. Allegro Con Brio
II. Introduzione: Adagio Molto
III. Rondo: Allegretto Moderato
I. Largo - Allegro
II. Adagio
III. Allegretto
I. Das Lebewohl (Les Adieux): Adagio - Allegro
II. Abwesenheit (L'Absence): Andante Espressivo
III. Das Wiedersehen (La Retour): Vivacissimamente

Amazon.com

It takes a lot of confidence, to say nothing of experience and technical mastery to even think about tackling these three Beethovenian giants, but Irish pianist John O'Conor has more than what it takes. He delivers performances that not only show the depth of the composer's complex pianistic structures, but find the music's heart as well. The sonics are superb. --David Vernier

Customer Reviews:

PERFECT SOUND. AND A HEAP OF TALENT!.......2006-04-03

***My ears are, if anything, over-sensitive to harsh sound, so regarding the reviewer who complained about the tone in O'Conor...well, with all due respect, I just can't see it. The sound here is rich, full, and loaded with resonance to me. I enjoy/savor O'Conor's touch on the keys AND the pure joy of the piano tone captured here. Congrats to the engineers of this recorded set.
***Thanks to O'Conor, I have a deepening love for the spiritual and intellectual nature of LVB's 32! What a gift for us all.
...and I must add, there are many great players of The 32. Find your true taste and enjoy the best.
...also, if you care to read Paul Twitchell's The Flute of God, you may find an enhanced understanding of music, overtones and even "spiritual psychology."

Extraordinary..........2004-05-27

This is an exceptionally beautiful recording of the 'Waldstein', 'Tempest', and 'Les Adieux' sonatas of Beethoven. O'conor's sound is warm and lyrical with a powerful technique which serves, but never overpowers the music - he's not a basher. He sounds utterly at home in this music and the performances have such a rightness about them that they feel inevitable. He leans, perhaps, a bit more to the classical than the romantic style of playing, so if you're in search of melodrama this may not be the recording for you.

As to the sound - well not to contradict the shrill reviewer below - but to my ear this is one of the best (of hundreds) sounding piano recordings I've heard. There's some room ambience, but not enough that the sound gets lost. It is NOT harsh or overly treble, nor does it have too much bass. It feels intimate, as if you're in the room with the performer and is exceptionally clear and warm. This not a dry recording (see Gulda's WTC).

My favorite 'Waldstein'!

Great music, good performance - but terrible sound.......2001-08-19

The music is great, the performance is solid - but the sound is so bad it detracts from both. I don't know what they did, but either the piano was lousy (which I doubt!) or the recording/engineering was terrible. It actually sounds like a metal piano (if that were possible) - shrill, tinny and shallow. The upper range is shrill and thin, the middle range is flat and shallow, and the lower range is almost non-existent. It sounds as if there is some sort of low frequency filter that mutes everything below about 200Hz. Where is the sonorous sound that makes this music live? I was very disappointed.

Great music, good performance - but terrible recording........2001-08-19

The music may be great and the performance may be great, but the recording (or the piano - but I doubt that) is terrible. The piano sounds like it's made of cheap metal (if that were possible) - everything sounds "tinny". The higher registers sound shrill and thin, the middle registers are flat and lifeless, and the lower notes lack any depth or resonance. A real disappointment.

great waldstein interpretation.......2000-02-16

The Waldstein sonata can be difficult to interpret. Even after many listenings, the repeated third chords seem like an threatening omen of difficult music ahead. John O'Connor's interpretation of this work is the first I've heard that seems to get into the heart and mind of the music. For me, it was the first recording of the Waldstein that "made sense". It is truly wonderful.

Average customer rating:

Richter plays Beethoven!
Richter is King of Beethoven
Brilliant performances
Phenomenal
incredible

Beethoven: Piano Sonatas, Vol. 2

Manufacturer: Melodiya
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Liszt: The Two Piano Concertos; The Piano Sonata
Bach: Well-Tempered Clavier
The Sofia Recital 1958

ASIN: B000001HCQ
Release Date: 1997-03-11

Tracks:

Piano Sonata No. 8 In C Minor, Op. 13 - Pathetique: 1 Grave - Allegro di molto e con brio
Piano Sonata No. 8 In C Minor, Op. 13 - Pathetique: 2 Adagio cantabile
Piano Sonata No. 8 In C Minor, Op. 13 - Pathetique: 3 Rondo. Allegro
8 Bagatelles: in F Major,Op.33 No.3 (Allegretto)
8 Bagatelles: in C Major,Op.33 No.5 (Allegro ma non troppo)
8 Bagatelles: in C Major,Op.119 No.2 (Andante con moto)
8 Bagatelles: in C Major,Op.119 No.7(Allegro,ma non troppo)
8 Bagatelles: in A Minor,Op.119 No.9 (Vivace moderato)
8 Bagatelles: in G Major,Op.126 No.1 (Andante con moto catabile e compiacevole)
8 Bagatelles: in B Minor,Op.126 No.4 (Presto)
8 Bagatelles: in E-flat Major,Op.126 No.6 (Presto - Andante amabile e con moto)
Piano Sonata No. 23 in F Minor, Op. 57 - Appassionata: 1 Allegro assai
Piano Sonata No. 23 in F Minor, Op. 57 - Appassionata: 2 Andante con moto
Piano Sonata No. 23 in F Minor, Op. 57 - Appassionata: 3 Allegro ma non troppo - presto
Fantasy For Piano, Chorus And Orchestra In C Minor, Op. 80: Adagio
Fantasy For Piano, Chorus And Orchestra In C Minor, Op. 80: Finale.Allgro
Fantasy For Piano, Chorus And Orchestra In C Minor, Op. 80: Allegretto ma non troppo,quasi Andante con moto

Amazon.com

This live Appassionata, from a Moscow recital of 1960, is one of the most thrilling piano performances ever recorded. Sviatoslav Richter fills every moment of the first movement with intense drama, creates the illusion of total repose in the central variations, and then takes off in the finale with an exhibition of musical virtuosity and ever-increasing tension that becomes almost unbearably intense (and unbelievably fast and accurate). The studio Pathétique is quite fine, and the Fantasy (sung in Russian!) well performed by all but still rather quaint in its effect. But don't miss that Appassionata! --Leslie Gerber

Customer Reviews:

Richter plays Beethoven!.......2005-10-11

The original treatment given by Richter to the "Pathetique" is worthy to remark. It is absolutely interesting. The opening bars sound marked Beethovenian but in Russian mood; dry and authoritative; that is a good signal because must never sound romantic, but rough. The harmonies must be dissonant. The Adagio is noble and sublime but the last movement is a pleasant surprise: Richter, before the coda makes a fabulous retard, that brief decrease of intensity prepares us for the following arpeggios with magnificent results.
The 8 Bagatelles know best interpreters: I dislike this approach. The tempos are too fast and inexpressive. I rather choose Glenn Gould or Wilhelm Kempff, just to name two Greats.
Through the years I have realized that "Appassionata" Sonata is measure by measure the most complete and heroic piano work ever written in the keyboard' s history. This Op. 57 gives us a very close idea about the player 's temperament and personality of the performer. Richter makes a superb reading about it, and in my personal ist of the great performances about this piece, I would name just five: The First choice is the legendary and unexplainable not released yet on CD of Paul Badura Skoda in 1978 in vinyl, recording that fortunately I converted digitally; this work maintains its own feature that seems to be improving through the years. The second choice goes for a superb version of Rudolf Serkin in a live recording (available in CD) Lugano 1957; my third choice would incline by a recital given in a Castle room by Daniel Barenboim in 1984; fierceness and wildness. My fourth pronouncement goes to this version and the Fifth is William Murdoch a not so well known Australian pianist in the late twenties (available in CD).
The Fantasy is terrific. Richter was inflamed by a Dionysian rage and this work needs it. Far from being a contemplative work; this work deserves to be played with more frequency by the most of pianists. Emotive, expressive, energetic and mercurial.
A glorious choice in case you decide to acquire it as I did it in 1995.

Richter is King of Beethoven.......2002-01-13

I must say that in my opinion Sviatoslav Richter is the finest interpreter of Beethoven this century. This disc is a perfect example with which to support my case. It couples two of Beethoven's greatest piano sonatas, the Pathetique and Appassionata, with some charming bagatelles, and the underrated Choral Fantasy. The Pathetique is a studio version from the 50s in mono sound (if you need a reference the whole disc is mono but sounds slightly clearer than Gould's famous 1955 Goldberg Variations), and it is simply the best performance of this famous sonata that I've ever heard. Unlike so many other pianists, Richter actually plays the first movement at a correct tempo, with it's slow opening turning into a rather fast burst of pianistic energy. Too often you hear a recording of this sonata that starts of Grave and moves to an allegretto. Thankfully, Richter actually plays the movement allegro as specified. The famous second movemtent is without a doubt the most perfect and moving I've ever heard. The rondo is also simply amazing. Richter has the incredible ability to play a rondo as light, yet emotional music at the same time. It seems like a paradox, but this amazing one of a kind pianist is able to pull it off. The Appassionata is hands down the best piano performance available on disk. It's a live recording and showcases Richter in his prime. It's simply the most emotionally stirring piano performance I've ever heard. Words fail to describe the power that Richter conjures from Beethoven's keyboard masterpiece. It's is a must hear. The fillers are the bagatelles and the choral fantasy, and even though they may just be there to fill the rest of the disk, they are quite simply stunning. The bagatelles, small dance works that were greatly popularized by Beethoven, come off sounding like the masterpieces they are. Too often they're thrown off as light music, perhaps given to a piano student as a learning tool. Basically they're not taken as seriously as they should. Luckily, Richter believed them to be miniature masterpieces, and it shows in his playing. The Choral Fantasy is in russian, translated from the original german, and may sound odd if you've heard other versions, but sanderling and his orchestra and chorus along with Richter's amazing talents make another one of Beethoven's neglected masterpieces shine as bright as it should. This disc is full of absolutely amazing performances and at an incredible price. It showcases Richter's amazing talent, and supports the belief of many, including myself, that he is THE Beethoven interpreter. Even though the sound is mono, the quality is still relatively good. Excellent performances and better than average mono sound at a bargain price make this CD an essential.

Brilliant performances.......2001-06-02

This is a fantastic CD for lovers of Beethoven's piano works and Richter both. In particular, Richter's version of the "appassionata" is without parallel in fiery virtuosity. He approaches many of these pieces in a much different way than many modern performers. This is not a CD to play in the background, this is a CD that commands your full attention, both intellectually and emotionally.

Phenomenal.......2001-04-08

I agree with the other reviewer. This disk is incredible. Simply incredible. Take any person off the street and sit then down with this disk, and play them the Appassionata. If they are not breathtaken, the only explanation is they are deaf. This is one of the most powerful performances of anything I have ever heard in my life. Beethoven himself would have had an climax if he heard this. The rest of the disk is first rate as well. If you aren't familiar with the Bagatelles, or the Choral fantasy, this is a good pace to get hooked.

incredible.......2001-01-01

I don't write a lot of amazon.com reviews, but this CD needs more exposure.. This was one of the first Richter disks I bought (I now have ~40), and is still my favorite. The 'Appassionata' is the best among all existing recordings (even if you have Richter's Praga or RCA performances, you have to hear this one). Every little bit of this sonata makes perfect sense in the context of the whole piece; it is always pushing forward toward the finale, which is more exciting than anything else ever put on tape. You shouldn't be able to listen to anything else for a few hours after it's over. So, this alone should be enough... But the other works on this CD--the bagatelles, the 'Pathetique' sonata, and especially the choral fantasy--are just as worthy of praise. I like the 'Pathetique' more than Gilels', and the Fantasy is beautiful.

Finally -- this disk is part of the 10-CD Richter Edition. The whole set is great, but if you cannot afford it right now -- this is what you ought to buy. And then you should buy a copy for your friends, especially those who don't listen to classical music yet.

Customer Reviews:

Very Poor Transfer.......2003-03-18

But Schnabel is very inspiring in that he shows you how to approach and how we can interprete music. Usually we have to hear a whole variety of interpretations in order to get a better idea of the pieces. Listening to Schnabel and you can save about 50% of your efforts and the result is twice as good, because he helps you to see music in a new light. Andras Schiff, for example, often listens to and benefitted much from Schnabel.

But the transfer here is very poor indeed despite the fact that I have been listening to quite a lot of historic recordings like Busoni on the piano, the Liszt's Pupils, Schnabel/Szegeti, Busch/Serkin, Bartok, Rachmaninoff on the piano... etc but none is more unacceptable than this one even in view of it's low price. Go for other versions.

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