Artur Schnabel

Editorial Reviews
Amazon.com
To many, Artur Schnabel made Beethoven famous (and vice versa). Between 1932 and 1935, he recorded the first complete cycle of Beethoven's piano sonatas, a collection that--even after decades of new interpreters--still stands the test of time. While this double-CD anthology of Schnabel's Beethoven, in Philips's Great Pianists series, only focuses on three of the sonatas, the collection chosen is a true testament to the pianist's insight into the composer. On the Waldstein Sonata, Schnabel transitions from a furious-paced Allegro con brio to a snail's-paced Introduzione without ever sounding ponderous. The 1933 recording of Concerto No. 4 with the London Philharmonic Orchestra reveals the pianist's lighter side: the finale ends in a delicate, yet playful, fashion. The Diabelli Variations from a few years later follows a similar, equally delightful form. Included are two previously unreleased-to-CD recordings from 1942: Schnabel's accounts of Beethoven's late Piano Sonatas Opp. 109 and 111. Though not a far departure from his earlier recordings, they're a fascinating document: No. 111 sounds truly menacing. Though Schnabel's style wasn't faultless, the emotional depth he brought to these works has rightfully made him a legend. --Jason Verlinde

Artur Schnabel, Music, Ludwig van Beethoven, Malcolm Sargent, London Philharmonic Orchestra, Artur Schnabel, Chamber Music & Recitals, Classical, Classical Artists, Classical Music, Classical Period Variations for Keyboard, Concerto, Keyboard, Piano Concerto, Romantic Sonata/Sonatina for Keyboard

Beethoven: Piano Sonatas [Germany]
Average customer rating:

Great Performances, Nice Price!

Beethoven: Piano Sonatas [Germany]
Artur Schnabel
Manufacturer: Documents
ProductGroup: Music
Binding: Audio CD

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Beethoven: The Complete Symphonies and Piano Concertos

Milstein (4CD Set)

ASIN: B000AAVCYS
Release Date: 2006-05-04

Tracks:

Piano Sonata No. 1 In F Minor
Piano Sonata No. 2 In A Major
Piano Sonata No. 3 In C Major
Piano Sonata No. 4 In E Flat Major
Piano Sonata No. 5 In C Minor
Piano Sonata No. 6 In F Major
Piano Sonata No. 7 In D Major
Piano Sonata No. 8 In C Minor, "Pathetique"
Piano Sonata No. 9 In E Major
Piano Sonata No. 10 In G Major
Piano Sonata No. 11 In B Flat Major
Piano Sonata No. 12 In A Flat Major "Funeral March"
Piano Sonata No. 13 In E Flat Major "Quasi Una Fantasia"
Piano Sonata No. 14 In C Sharp Minor "Moonlight"
Piano Sonata No. 15 In D Major "Pastoral"
Piano Sonata No. 16 In G Major
Piano Sonata No. 17 In D Minor "Tempest"
Piano Sonata No. 18 In E Flat Major "The Hunt"
Piano Sonata No. 19 In G Minor
Piano Sonata No. 20 In G Major
Piano Sonata No. 21 In C Major "Waldstein"
Piano Sonata No. 22 In F Major
Piano Sonata No. 23 In F Minor "Appassionata"
Piano Sonata No. 24 In F Sharp Major "A The"
Piano Sonata No. 25 In G Major "Cuckoo"
Piano Sonata No. 26 In E Flat Major "Les Adieux/Lebewohl"
Piano Sonata No. 27 In E Minor
Piano Sonata No. 28 In A Major
Piano Sonata No. 29 In B Flat Major "Hammerklavier"
Piano Sonata No. 30 In E Major
Piano Sonata No. 31 In A Flat Major
Piano Sonata No. 32 In C Minor

Customer Reviews:

Great Performances, Nice Price!.......2006-12-17

I was fairly familiar with the performance style of Artur Schnabel (1882-1951) prior to purchasing this recording. My small collection included his Schubert impromptus and several sonatas, a few Mozart concertos, the Brahms piano concerto #1 with Szell, and assorted Bach pieces. Others have waxed eloquently elsewhere about the aspects of his playing, so I will let you read their lengthy comments. Better yet, just LISTEN to some Schnabel, if you haven't already!

Although I can't really do it justice, I'll briefly summarize Schnabel's style. He gives a very personal interpretation of everything he plays. When you hear him, it's clearly Schnabel's Beethoven or Schnabel's Schubert or Schnabel's Brahms...not an attempt to historically recreate what the composer himself may have wanted. In a way, Schnabel is diameterically opposed to the HIP (Historically-Informed Performance) crowd.

In terms of fingering style, legato predominates over staccato to a great extent, rapid tempo changes are commonplace, and the rubato playing is stupendous. Some have commented in the past about technical deficiencies, such as slip-ups during challenging passages...I have to say that in these 1930's performances I don't hear many. If you listen to live performances towards the end of his career, you'll hear a few more botched notes.

So, he certainly isn't a Michelangeli (another pianist I respect greatly) in terms of absolute perfection of style and technique. What you get with Schnabel is an incredibly personal view of the music, persuasive and emotional in its delivery, intellectual and refined yet at the same time accessible, who plumbs the depths of a master like Beethoven like you've never heard before.

This particular collection is a reissue of the recordings Schnabel made for the English recording company HMV between the years of 1932-1935. This output initially totalled one-hundred 78 rpm records ("two-hundred sides"). It has never been out of print because of its incredible artistic value. The fact that it has continued to sell well probably hasn't hurt either! Previous incarnations have been found on Pearl, Dante, EMI, and now, Naxos Historical. I won't claim that this issue from Membran Music/Documents, apparently a German company, is better in sound quality than the others. In fact, I'd probably appreciate a little less noise reduction and more hiss, so I could appreciate the piano's tonal quality a bit more (hence, the 4 stars). However, after hearing the first of these discs, I can tell you that they are eminently listenable. Obviously, this ain't the digitally-recorded sound of Yevgeny Kissin playing in Carnegie Hall, but you can appreciate full-force the artistic genius of Schnabel.

I highly recommend this set, which is currently going for the ridiculously-low price (although I hope it stays that way...) of $16.99 for 10 CD's. Anyone who wants to hear the apex of Classical piano playing should give it a try.

Best regards, and Happy Holidays,

Adam

Arthur Schnabel: The Complete Schubert Recordings 1932-1950

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Arthur Schnabel: The Complete Schubert Recordings 1932-1950

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

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The Black Swan: The Impact of the Highly Improbable

ASIN: B000C6NO0U
Release Date: 2006-01-01

Tracks:

No. 1 In C Minor
No. 2 In E Flat
No. 3 In G Flat
No. 4 In A Flat
No. 1 In F Minor
No. 2 In A Flat
No. 3 In B Flat
No. 4 In F Minor
Allegretto In C Minor, D.915
March In E, D.606

Tracks:

No. 1 In C
No. 2 In A Flat
No. 3 In F Minor
No. 4 In C Sharp Minor
No. 5 In F Minor
No. 6 In A Flat
Allegro
Andantino
Scherzo (Allegro Vivace)
Rondo (Allegretto)

Tracks:

Allegro
Andantino
Scherzo (Allegro Vivace)
Rondo (Allegretto)
Molto Moderato
Andante Sostenuto
Scherzo (Allegro Vivace Con Delicatezza)
Allegro Ma Non Troppo

Tracks:

Allegro Vivace
Andante
Scherzo (Presto) And Trio
Andantino
Finale (Allegro Giusto)
Der Doppelganger (No. 13 From 'Schwanengesang', D.957)
Die Stadt (No. 11 From 'Schwanengesang', D.957)
Gruppe Aus Dem Tartarus, Op. 24, No. 1, D.583
Der Kreuzzug, D.932
An Die Laute, Op. 81, No. 2, D.905
Der Musensohn, Op. 92, No. 1, D.764
Erlkonig, Op. 1, D.328
No. 1 In D
No. 2 In G
No. 3 In E Flat

Tracks:

Andante
Marcia (Andante Con Moto)
Allegretto
March In G Minor, Op. 40, D.819 No. 2
March In B Minor, Op. 40, D.819 No. 3
Andantino Varie In B Minor, Op. 84, D.823
Allegro In A Minor ('Lebenssturme') Op. Posth. 144, D.947
Rondo In A, op. 107, D.951

Artur Schnabel Plays Mozart: The Complete EMI recordings

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Artur Schnabel Plays Mozart: The Complete EMI recordings

Manufacturer: Music and Arts Programs of America
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Arthur Schnabel: The Complete Schubert Recordings 1932-1950

ASIN: B000M5B3NQ
Release Date: 2007-01-30

Product Description

The Complete Emi Recordings, with additional live performances. Restoration: Kit Higginson, Notes Farhan Malik

Schnabel: Complete Beethoven Piano Sonatas 8CD

Average customer rating:

The playing is the voice of Beethovan
An excellent incarnation of classic recordings

Schnabel: Complete Beethoven Piano Sonatas 8CD

Manufacturer: Forum Regis
ProductGroup: Music
Binding: Audio CD

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Schubert: The Piano Sonatas
Babel

ASIN: B0000V86PA
Release Date: 2003-10-13

Album Description

Artur Schnabel
Complete Piano Sonatas of Ludwig van Beethoven
8CD set

Customer Reviews:

The playing is the voice of Beethovan.......2007-02-12

More technically immaculate versions are available, but none convey to you the spirit and temperament of Beethovan as Schnabel did. The slow movements eclipse all those from other players. Any music lover who really wants to know what Beethovan is like must listen to this. As Beethovan's famous saying : " from the heart, it goes to the heart ".

An excellent incarnation of classic recordings.......2005-01-07

Artur Schnabel's seminal interpretations of the Beethoven piano sonatas, recorded between 1932 and 1935, are among the unquestionable classic recordings in the record history. Opinions divide, however, regarding Schnabel's mastery. From a technical point of view, his interpretations are not always clinically accurate. But whatever Schnabel lacks in technical brilliance, his interpretations are perfectly balanced, thoughtful, and moving. If one just wants one set with Beethoven's sonatas, this classic set deserves a serious consideration.

The present Regis incarnation of the old 78s submits Schnabel's interpretations in a clear sound that is remarkably fresh. I have not heard the HMV version, which often is blamed for its bad sound. The monophonic sound in this set, however, is nothing but excellent despite the considerable age of the original recordings.

The only oddity is that Regis has made the pauses between each sonata incredibly short - for economical reasons I suppose. Now the complete sonatas fit on 8 cds in a very slim package. That should of course not prevent you from grabbing this fine set.

Beethoven: Piano Sonatas Nos. 21 'Waldstein', 22, 23 'Appassionata', 24, 25, 27 & 30-32

Average customer rating:

great compilation, vividly played
Dull sound in these reissues

Beethoven: Piano Sonatas Nos. 21 'Waldstein', 22, 23 'Appassionata', 24, 25, 27 & 30-32

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter

ASIN: B0002VEPNK
Release Date: 2004-09-07

Tracks:

I: Allegro Con Brio
II: Introduzione (Adagio Molto)
III: Rondo (Allegretto Moderato - Prestissimo)
I: In Tempo D'un Menuetto
II: Allegretto
I: Allegro Assai
II: Andante Con Moto
III: Allegro Ma Non Troppo - Presto
I: Adagio Cantabile - Allegro Ma Non Troppo
II: Allegro Assai
I: Presto Alla Tedesca
II: Andante Espressivo
III: Vivace

Tracks:

I: Con Vivacita E Sempre Con Sentimento E Espressione
II: Allegretto Ma Non Troppo E Cantabile
I: Vivace Ma Non Troppo - Adagio Expressivo
II: Prestissimo
III: Tema (Andante Molto Cantabile Ed Espressivo) - Variazioni I-VI
I: Moderato Cantabile, Molto Espressivo
II: Allegro Molto
III: Adagio Ma Non Troppo - Fuga (Allegro Ma Non Troppo)
I: Maestoso - Allegro Con Brio Ed Appassionato
II: Arietta (Adagio Molto Semplice E Cantabile)

Customer Reviews:

great compilation, vividly played.......2006-01-02

a great, great compilation. why??
1) sound. yes, it was recorded in 1930s, so not everything is so clear but unless you are too demanding in sound quality the sound is very acceptable (for my taste at least) and, most important, luckily EMI almost completely deleted any trace of "hiss" (which I find unbearable even with better and clearer piano sound).
2) pianist: Schnabel, as far as I read, is a legend, at least in LvB piano sonatas. They are vividly played, with appropiate "elastic" tempi (a similar effect in past conductors, look at my review of Brahms symphonies by Jochum, with a similar "flexible" approach). Also there is a lot of virtuosism. The only problem I find is in Appasionata, specifically in its last mov: too, too, too fast, with no time to "savour" the notes and with very important "forte" notes (they are climaxes indeed) strangely played "piano" so their effect is completely lost. Yes, it sounds like a twister, a storm but misconceived. the rest of the CDs is played with a near perfect approach. Maybe there are techical problems (I am not a pianist, that is what i read) but the conception is always OK (except for 3rd mov op 57, as i said).
3) works. To begin with Beethoven some "early" famous works are always wellcome eg Pathetique and Moonlight. They are absent here, because the aim here is to present the middle and late periods from the piano sonata point of view.
-In the late period, you can in 1 CD include hammerklavier and some other, or the last tryptic, the solution found here (together with sonata 27). To play together the last 3 sonatas makes one see them as a group and to find out relations eg sonata 30 and 32 (the corners of the 3) end with variations. I like them very much, specially the sonata 32.
-In the middle period you have the works in the 1st CD. Favourites are Waldstein and op 57, yes (perhaps the 2 most important sonatas of LvB, at least from the most popular). So are the sonatas 22, 24 & 25 simply fillers ???? Definitely NOT!!! They are quite complemetary to the 2 famous already cited: nº 22 has a minuet, but a middle period minuet, which is far advanced than the "early style" minuets. And has a toccata mov which sometimes makes me remember Schumann. Nº 78 has one of the most lovely movs ever created by the composer, and should be better known. The last mov is quite complementary. And Nº 25? A surprising and charming work. Sounds too Mozartian (the brief K 545 was a model?), but never he goes back in style to his earlier period. It has 3 movs (wonderfull all 3 !!!) and all played, with complete repeats, in less than 9 minutes !!! Clearly an essay on how to compose a full (for the quality and diversity of the ideas) "brief" sonata.
please, try this compilation. you won`t regret.

Dull sound in these reissues.......2005-11-07

I had high hopes for this reissue of the magical recordings by Schnabel of the Beethoven sonatas. The engineers did an admirable job of reducing the surface noise from the 78 rpm disks. But they took out the sparkle from the keys that can be heard on the "Schnabel Plays Beethoven" Pearl editions of these recordings, or the "Beethoven: Piano Works" Naxos editions.

Beethoven: Complete Piano Sonatas (Box Set)

Average customer rating:

Recording Quality
A shocker

Beethoven: Complete Piano Sonatas (Box Set)

Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B00005REUP
Release Date: 2001-12-11

Tracks:

Piano Sonata No.1 In F Minor, Op.2 No.1: Allegro
Piano Sonata No.1 In F Minor, Op.2 No.1: Adagio
Piano Sonata No.1 In F Minor, Op.2 No.1: Menuetto
Piano Sonata No.1 In F Minor, Op.2 No.1: Prestissimo
Piano Sonata No.5 In C Minor, Op.10 No.1: Allegro Molto E Con Brio
Piano Sonata No.5 In C Minor, Op.10 No.1: Adagio Molto
Piano Sonata No.5 In C Minor, Op.10 No.1: Prestissimo
Piano Sonata No.6 In F, Op.10 No.2: Allegro
Piano Sonata No.6 In F, Op.10 No.2: Allegretto
Piano Sonata No.6 In F, Op.10 No.2: Presto
Piano Sonata No.7 In D, Op.10 No.3: Presto
Piano Sonata No.7 In D, Op.10 No.3: Largo E Mesto
Piano Sonata No.7 In D, Op.10 No.3: Menuetto: Allegro
Piano Sonata No.7 In D, Op.10 No.3: Allegro

Tracks:

Piano Sonata No.2 In A, Op.2 No.2: Allegro Vivace
Piano Sonata No.11 In B Flat, Op.22: Largo Appassionato
Piano Sonata No.11 In B Flat, Op.22: Scherzo: Allegretto
Piano Sonata No.11 In B Flat, Op.22: Rondo: Grazioso
Piano Sonata No.3 In C, Op.2 No.3: Allegro Con Brio
Piano Sonata No.3 In C, Op.2 No.3: Adagio
Piano Sonata No.3 In C, Op.2 No.3: Scherzo: Allegro
Piano Sonata No.3 In C, Op.2 No.3: Allegro Assai
Piano Sonata No.4 In E Flat, Op.7: Allegro Molto E Con Brio
Piano Sonata No.4 In E Flat, Op.7: Largo, Con Grande Espressione
Piano Sonata No.4 In E Flat, Op.7: ALlegro
Piano Sonata No.4 In E Flat, Op.7: Rondo: Poco Allegretto E Grazioso

Tracks:

Piano Sonata No.8 In C Minor, Op.13 'Pathetique': Grave-Allego Molto E Con Brio
Piano Sonata No.8 In C Minor, Op.13 'Pathetique': Adagio Cantabile
Piano Sonata No.8 In C Minor, Op.13 'Pathetique': Rondo: Allegro
Piano Sonata No.9 In E, Op.14 No.1: Allegro
Piano Sonata No.9 In E, Op.14 No.1: Allegretto
Piano Sonata No.9 In E, Op.14 No.1: Rondo: Allegro Comodo
Piano Sonata No.10 In G, Op.14 No.2: Allegro
Piano Sonata No.10 In G, Op.14 No.2: Andante
Piano Sonata No.10 In G, Op.14 No.2: Scherzo: Allegro Assai
Piano Sonata No.12 In A Flat, Op.26: Andante Con Variazioni
Piano Sonata No.12 In A Flat, Op.26: Scherzo: Allegro Molto
Piano Sonata No.12 In A Flat, Op.26: Marcia Funebre: Andante Maestoso
Piano Sonata No.12 In A Flat, Op.26: Allegro

Tracks:

Piano Sonata No.11 In B Flat, Op.22: Allegro Con Brio
Adagio Con Molta Espressione
Piano Sonata No.2 In A, Op.2 No.2: Rondo: Allegro
Piano Sonata No.9 In E, Op.14 No.1: Allegro
Piano Sonata No.13 In E Flat, Op.27 No.1 'Quasi Una Fantasia': Andante-Allegro-Andante
Piano Sonata No.13 In E Flat, Op.27 No.1 'Quasi Una Fantasia': Allegro Molto E Vivace
Piano Sonata No.13 In E Flat, Op.27 No.1 'Quasi Una Fantasia': Adagio Con Espressione
Piano Sonata No.13 In E Flat, Op.27 No.1 'Quasi Una Fantasia': Allegro Vivace
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': Adagio Sostenuto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': Allegretto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': Presto Agitato
Piano Sonata No.15 In D, Op.28 'Pastorale': Allegro
Piano Sonata No.15 In D, Op.28 'Pastorale': Andante
Piano Sonata No.15 In D, Op.28 'Pastorale': Scherzo: Allegro Vivace
Piano Sonata No.15 In D, Op.28 'Pastorale': Rondo: Allegro Ma Non Troppo

Tracks:

Piano Sonata No.20 In G, Op.49 No.2: Allegro Ma Non Troppo
Piano Sonata No.20 In G, Op.49 No.2: Tempo Di Menuetto
Piano Sonata No.16 In G, Op.31 No.1: Allegro Vivace
Piano Sonata No.16 In G, Op.31 No.1: Adagio Grazioso
Piano Sonata No.16 In G, Op.31 No.1: Rondo: Allegretto
Piano Sonata No.17 In D Minor, Op.31 No.2 'The Tempest': Largo-Allegro
Piano Sonata No.17 In D Minor, Op.31 No.2 'The Tempest': Adagio
Piano Sonata No.17 In D Minor, Op.31 No.2 'The Tempest': Allegretto
Piano Sonata No.18 In E Flat, Op.31 No.3: Allegro
Piano Sonata No.18 In E Flat, Op.31 No.3: Scherzo: Allegretto Vivace
Piano Sonata No.18 In E Flat, Op.31 No.3: Menuetto: Moderato E Grazioso
Piano Sonata No.18 In E Flat, Op.31 No.3: Presto Con Fuoco

Tracks:

Piano Sonata No.19 In G Minor, Op.49 No.1: Andante
Piano Sonata No.19 In G Minor, Op.49 No.1: Rondo: Allegro
Piano Sonata No.21 In C, Op.53 'Waldstein': Allegro Con Brio
Piano Sonata No.21 In C, Op.53 'Waldstein': Adagio Molto
Piano Sonata No.21 In C, Op.53 'Waldstein': Rondo: Allegro Moderato
Piano Sonata No.22 In C, Op.53 'Waldstein': In Tempo D'Un Menuetto
Piano Sonata No.22 In C, Op.53 'Waldstein': Allegretto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': Allegro Assai
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': Andante Con Moto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': Allegro Ma Non Troppo
Piano Sonata No.26 In E Flat, Op.81a 'Les Adieux': Adagio-Allegro
Piano Sonata No.26 In E Flat, Op.81a 'Les Adieux': Andante Espressivo
Piano Sonata No.26 In E Flat, Op.81a 'Les Adieux': Vivacissimamente

Tracks:

Piano Sonata No.24 In F Sharp, Op.78: Adagio Cantabile-Allegro Ma Non Troppo
Piano Sonata No.24 In F Sharp, Op.78: Allegro Vivace
Piano Sonata No.25 In G, Op.79: Presto Alla Tedesca
Piano Sonata No.25 In G, Op.79: Andante
Piano Sonata No.25 In G, Op.79: Vivace
Piano Sonata No.28 In A, Op.101: Etwas Lebhaft Und Mit Der Innigsten Empfindung
Piano Sonata No.28 In A, Op.101: Lebhaft, Marschmassig
Piano Sonata No.28 In A, Op.101: Lagsam Und Sehnsuchtsvoll
Piano Sonata No.28 In A, Op.101: Geschwind, Doch Nicht Zu Sehr Und Mit Entschlossenheit
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': Scherzo: Allegro Vivace
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': Adagio E Sostenuto
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': Finale: Largo-Allegro Risoluto

Tracks:

Piano Sonata No.27 In E Minor, Op.90: Mit Lebhaftigkeit Und Durchaus Mit Empfindung Und Ausdruck
Piano Sonata No.27 In E Minor, Op.90: Nicht Zu Geschwind Und Sehr Singbar Vorgetragen
Piano Sonata No.30 In E, Op.109: Vivace Ma Non Troppo
Piano Sonata No.30 In E, Op.109: Prestissimo
Piano Sonata No.30 In E, Op.109: Gesangvoll, Mit Innigster Empfindung
Piano Sonata No.30 In E, Op.109: Moderato Cantabile, Molto Espressivo
Piano Sonata No.30 In E, Op.109: Allegro Molto
Piano Sonata No.30 In E, Op.109: Adagio Ma Non Troppo
Piano Sonata No.30 In E, Op.109: Fuga: Allegro Ma Non Troppo
Piano Sonata No.32 In C Minor, Op.111: Maestoso-Allegro Con BrioE Appassionato
Piano Sonata No.32 In C Minor, Op.111: Arietta: Adagio Molto, Semplice E Cantabile

Customer Reviews:

Recording Quality.......2004-08-05

The CD set is an excellent historical audio documentation of Schnabel's virtuosity. I was disapointed in the quality of the recording. I suppose I am spoiled with new technology but this is a great performance recorded on a CD with vinyl record technology in the 1930's, which it is. I have heard the Sonata cycle on the BBC Online archives by a Spanish pianist. The sound quality was much better via the web.

A shocker.......2004-07-03

This set actually came to me as a mistake, but at $50, there wasn't really any question as to whether I should keep it or not. I expected the sound quality to be horrible, the playing sloppy (characteristic to Schnabel), and the interpretations to be too rowdy for me.

These sonatas were recorded throughout the 1930's, but I will not lie, you can absolutely not tell at all. There is no hiss, only a rather beautifully played piano.

Schnabel keeps sonatas 1-27 crisp, clean and clear. The interpretations seem perfect, despite a few oddly chosen tempi. The late sonatas, I can not say the same. I am especially thrown over the edge by no. 28's fourth movement. The fantastic melody, one of my favorites, is ruined by Schnabel's playing. Also, in the Hammerklavier, the opening four bars are rubbish.

Other than those two mistakes (in my opinion), this set is one of the best money can buy, and worlds ahead of any other complete set for only $50. The beauty of his playing is astounding, and the remastering is a stroke of genius.

If you are looking desperately for the proper Beethoven piano sonata set, as I was for months, this is the one. I also looked into Wilhelm Kempff's, Alfred Brendel's, Richard Goode's, Daniel Barenboim's and Anton Kuerti's.

Tracks:

No. 1 In C Minor
No. 2 In E Flat Major
No. 3 In G Flat Major
No. 4 In A Flat Major
No. 1 In F Minor
No. 2 In A Flat Major
No. 3 In B Flat Major
No. 4 In F Minor
Allegretto In C Minor D915

Customer Reviews:

Schnabel's final recordings.......2007-05-14

Made less than a year before his death,these are great pianists final recordings.There were plans for others,but for some reason,they never materialised.It is equaly depressing to know that none of his last concerts were recorded.But what we do have of his interpretations is,in my opinion,more than enough for a claim that he was the gratest pianist of the last century.
These recordings of Impromptus are rather well known,and justly called the definitive,so I will not bother the fellow Schnabel enthousiast with any aditional(though,well deserved)praise.Few words about this edition,though.
It must be said that the transfer issued by Music and Arts as a part of their box-set of Schnabel's complete Schubert recordings does sound better.Remastered by Mark Obert Thorn,well known for his efforts on Schnabel's recordings issued recently by Naxos,they are a great improvement over this 2005.EMI disc.Still,the transfer on this CD is certainly not bad,it has been made from the original tapes(which,unfortunately,do show some traces of deterioration compared with the transfer done for the late '80. edition of these recordings)and is certainly a better buy if you want the Impromptus only.But for those interested in the entire Schnabel's Schubert output,go for the Music and Arts set(five discs priced as four).

Amazing musicianship.......2006-10-13

Simply put, there have been a lot of great pianists over the years, but none was greater than Artur Schnabel. His interpretations have a depth that has not been exceeded. This rerelease of his recordings of the Schubert Impromptus is a perfect example. He had the remarkable ability to play Schubert with dynamism and intensity while maintaining the lyrical, dreamy quality that is esential to Schubert's music.
Two points to consider before buying this disk. The original recordings were made during the 1930s and 1940s, and the sound quality is poor by modern standards. Second, there are a few wrong notes. Sound editing was impossible in those days, and Schnabel felt that conveying the essence of the music was more important that technical perfection. So he sometimes went with takes that were technically imperfect. These occassional slips are not the result of technical inadequacies on his part, but rather because he had to take big chances when he played in order to convey what he wanted to convey. (The best example of this is his notorious recording of Beethoven's Hammerklavier Sonata, which is rife with finger slips, but is nevertheless the greatest recording that this work has ever received -- Schnabel was the only pianist with the guts and brains to play the piece at close to Beethoven's breakneck metronome markings.) So he sometimes refused to re-record a piece if he thought that the possible technical improvement would be at the cost of a performance that was less emotional. However, neither of these points should deter anyone from buying this amazing disk. The quality of the intepretations is mesmerizing and you will quickly learn to overlook the archaic sound and occassional slips of the finger.
After you listen to this recording a few times, you won't be able to listen to anyone else's recording of the Impromptus.

Bach: Chromatic Fantasy & Fugue, etc / Schnabel, Boult, et al

Average customer rating:

A solid connection to the past

Bach: Chromatic Fantasy & Fugue, etc / Schnabel, Boult, et al

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00002DDVB
Release Date: 2000-01-11

Tracks:

Prelude and Fugue in D BWV 850 (The Well-Tempered Clavier, No.5): Prelude
Prelude and Fugue in D BWV 850 (The Well-Tempered Clavier, No.5): Fugue
Chromatic Fantasia And Fugue In D Minor BWV 903: Fantasia
Chromatic Fantasia And Fugue In D Minor BWV 903: Fugue
Italian Concerto: I: Allegro giusto
Italian Concerto: II: Andante
Italian Concerto: III: Presto
Toccata in C minor: Introduction- Adagio
Toccata in C minor: Fugue I (Allegro)- Adagio
Toccata in C minor: Fugue II (Allegro)
Toccata in D: Introduction (Presto)- Allegro
Toccata in D: Adagio- Fugato- Adagio
Toccata in D: Fugue (Presto)
Concerto No.2 in C for two pianos BWV 1061: I: Allegro
Concerto No.2 in C for two pianos BWV 1061: II: Adagio ovvero Largo
Concerto No.2 in C for two pianos BWV 1061: III: Fuga

Customer Reviews:

A solid connection to the past.......2000-07-27

Although Schnabel was probably best known in the 1930s, 1940s, and 1950s as an interpreter of Beethoven, his recordings of Bach were probably more radical. This CD is an issue of recordings made in the mid-1930s and Schnabel's last recording before his death in 1951. The playing on this CD rivals the "modern" recordings of Bach by Glenn Gould and Keith Jarret.

Some musicologists have suggested that some of these works, such as Chromatic Fantasia & Fugue in D minor were written by Bach as "theoritical" pieces only, not intented to actually be played. At the time when Bach wrote them there was probably no single instrument capable of matching the difficulty of Bach's composition. However, the modern piano is fully capable of meeting the demands of Bach, especially under the hands of a master such as Schnabel. This CD also contains the only, to my knowledge, recording of Artur Schnabel with his son, Ulich, with whom he traveled and preformed in the 1930s. I highly recommend this CD for anyone who appreciates the complex music of Bach.

Tracks:

The Complete Piano Sonatas: I. Allegro
The Complete Piano Sonatas: II. Adagio
The Complete Piano Sonatas: III. Menuetto (Allegretto) & Trio
The Complete Piano Sonatas: IV. Prestissimo
The Complete Piano Sonatas: I. Allegro con brio
The Complete Piano Sonatas: II. Adagio
The Complete Piano Sonatas: III. Scherzo (Allegro) & Trio
The Complete Piano Sonatas: IV. Allegro assai
The Complete Piano Sonatas: I. Allegro molto e con brio
The Complete Piano Sonatas: II. Largo, con gran espressione
The Complete Piano Sonatas: III. Allegro
The Complete Piano Sonatas: IV. Rondo (Poco allegretto e grazioso)

Tracks:

The Complete Piano Sonatas: I. Allegro vivace
The Complete Piano Sonatas: II. Largo appassionato
The Complete Piano Sonatas: III. Scherzo (Allegro) & Trio
The Complete Piano Sonatas: IV. Rondo (Grazioso)
The Complete Piano Sonatas: I. Allegro molto e con brio
The Complete Piano Sonatas: II. Adagio molto
The Complete Piano Sonatas: III. Finale (Prestissimo)
The Complete Piano Sonatas: I. Allegro
The Complete Piano Sonatas: II. Allegretto
The Complete Piano Sonatas: III. Presto
The Complete Piano Sonatas: I. Presto
The Complete Piano Sonatas: II. Largo e mesto
The Complete Piano Sonatas: III. Menuetto (Allegro) & Trio
The Complete Piano Sonatas: IV. Rondo (Allegro)

Tracks:

The Complete Piano Sonatas: I. Grave - Allegro molto e con brio
The Complete Piano Sonatas: II. Adagio cantabile
The Complete Piano Sonatas: III. Rondo (Allegro)
The Complete Piano Sonatas: I. Allegro
The Complete Piano Sonatas: II. Allegretto
The Complete Piano Sonatas: III. Rondo (Allegro comodo)
The Complete Piano Sonatas: I. Allegro
The Complete Piano Sonatas: II. Andante
The Complete Piano Sonatas: III. Scherzo (Allegro assai)
The Complete Piano Sonatas: I. Allegro con brio
The Complete Piano Sonatas: II. Adagio con molta espressione
The Complete Piano Sonatas: III. Menuetto
The Complete Piano Sonatas: IV. Rondo (Allegretto)

Tracks:

The Complete Piano Sonatas: I. Andante - Allegro
The Complete Piano Sonatas: II. Allegro molto e vivace
The Complete Piano Sonatas: III. Adagio con espressione - Allegro vivace
The Complete Piano Sonatas: I. Adagio sostenuto
The Complete Piano Sonatas: II. Alegretto & Trio
The Complete Piano Sonatas: III. Presto agitato
The Complete Piano Sonatas: I. Allegro
The Complete Piano Sonatas: II. Andante
The Complete Piano Sonatas: III. Scherzo (Allegro vivace) & Trio
The Complete Piano Sonatas: IV. Rondo (Allegro ma non troppo)
The Complete Piano Sonatas: I. Allegro
The Complete Piano Sonatas: II. Scherzo (Allegretto vivace)
The Complete Piano Sonatas: III. Menuetto (moderato e grazioso) & Trio
The Complete Piano Sonatas: IV. Presto con fuoco
The Complete Piano Sonatas: I. Andante
The Complete Piano Sonatas: II. Rondo (Allegro)

Tracks:

The Complete Piano Sonatas: I. Andante con variazioni I - V
The Complete Piano Sonatas: II. Scherzo (Allegro molto) & Trio
The Complete Piano Sonatas: III. Marcia funebre sulla morte d'un Eroe (Andante maestoso)
The Complete Piano Sonatas: IV. Allegro
The Complete Piano Sonatas: I. Allegro vivace
The Complete Piano Sonatas: II. Adagio grazioso
The Complete Piano Sonatas: III. Rondo (Allegretto)
The Complete Piano Sonatas: I. Largo - Allegro
The Complete Piano Sonatas: II. Adagio - III. Allegretto
The Complete Piano Sonatas: I. Allegro ma non troppo
The Complete Piano Sonatas: II. Tempo di Menuetto

Tracks:

The Complete Piano Sonatas: I. Allegro con brio
The Complete Piano Sonatas: II. Introduzione (Adagio molto) - Rondo (Allegretto moderato) - Prestissimo
The Complete Piano Sonatas: I. In tempo d'un Menuetto
The Complete Piano Sonatas: II. Allegretto
The Complete Piano Sonatas: I. Allegro assai
The Complete Piano Sonatas: II. Andante - III. Allegro ma non troppo - Presto
The Complete Piano Sonatas: I. Adagio cantabile - Allegro ma non troppo
The Complete Piano Sonatas: II. Allegro vivace
The Complete Piano Sonatas: I. Presto alla tedesca
The Complete Piano Sonatas: II. Andante - III. Vivace

Tracks:

The Complete Piano Sonatas: I. Adagio - Allegro (Les Adieux)
The Complete Piano Sonatas: II. Andante espressivo (L'Absence) - III. Vivacissimamente (Le Retour)
The Complete Piano Sonatas: I. Allegretto ma non troppo
The Complete Piano Sonatas: II. Vivace alla Marcia
The Complete Piano Sonatas: III. Adagio ma non troppo, con affetto - Allegro
The Complete Piano Sonatas: I. Allegro
The Complete Piano Sonatas: II. Scherzo (Assai vivace) - Presto
The Complete Piano Sonatas: III. Adagio sostenuto
The Complete Piano Sonatas: IV. Largo - Allegro risoluto

Tracks:

The Complete Piano Sonatas: I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
The Complete Piano Sonatas: II. Nicht zu geschwind und sehr singbar vorzutragen
The Complete Piano Sonatas: I. Vivace ma non troppo - Adagio espressivo
The Complete Piano Sonatas: II. Prestissimo
The Complete Piano Sonatas: III. Tema (Andante molto cantabile ed espressivo) - Variaziono I - VI
The Complete Piano Sonatas: I. Moderato cantabile molto espressivo
The Complete Piano Sonatas: II. Allegro molto
The Complete Piano Sonatas: III. Adagio ma non troppo - Fuga (Allegro ma non troppo)
The Complete Piano Sonatas: I. Maestoso - Allegro con brio ed appassionato
The Complete Piano Sonatas: II. Arietta (Adagio molto semplice e cantabile)

Amazon.com

Dating from 1932-35, this was the first complete cycle of Beethoven's piano sonatas ever recorded. It has remained available almost continuously since it was first issued, a testimonial to the staying power of these legendary performances. Other pianists may have approached Beethoven with more secure technique, and there are certainly other conceptions of this music that deserve our attention. But the intellectual comprehension and--especially!--the intense emotional projection of Artur Schnabel's performances will remain treasures as long as listeners love Beethoven's music. Competing editions of these recordings on other labels generally cost more and don't improve on EMI's transfers. Treat yourself to this set, ignore some technical struggles in the late sonatas, and you're in for a great voyage of Beethoven discovery. --Leslie Gerber

Customer Reviews:

No Musician Will Ever Whine About Recording Quality.......2006-06-09

...Because, simply put, it is enough that the recording exists. No one plays piano today like the greats did. To hear Schnabel, Richter, Gould, Horowitz, Friedman, et. al., is to understand that this is what it would sound like if Beethoven himself, Chopin himself, Liszt himself, were able to record their playing. Can you learn to see from the blind? Even though modern releases promise to teach you how to "see" this music with a clean recording, many of today's performers seem blind. I imagine most of the reviewers complaining about transfer quality would probably be happier with an immaculately recorded "Piano Is For Lovers" or "Piano In The Moonlight" or some other such nonsense. No, you cannot learn to see from the blind.

Besides, when you buy a performer like Schnabel, you get delicious, sweet clarity, though it sounds like maybe a Kristallnacht is being conducted in the recording room. That's all there is to it. One nanosecond of Schnabel's Beethoven beats a whole collection of most modern pianists' Beethoven. With a guy like Schnabel, you get the authentic experience. You get the intimate, guided tour. And if you don't like the hissing (it's not really that bad--listen to the Amazon sampler...any true fan of serious music is probably accustomed to far worse), just close your eyes, listen with your heart. If you're truly one of the "fair-hearing", then the hiss will not bother you. You'll pick up what needs to be picked up.

That simple.

I can hear more in this sizzling, aged recording than many could hear in a perfect, modern recording.

Interpretation? Maybe. Sound? No........2006-01-08

"Schnabel is the greatest Beethoven interpreter" or something like that you will be told along the way. "Seminal" and "belonging in every serious collection".

I bought into that - listened to them - was appalled - gave my set away. I reconsidered - listened to them - and finally was ready to grasp what might be great about them.

Schnabel's is _not_ a set for those who are looking for an intro to Beethoven and is not for those who demand perfect playing or good sound. The sound in none of the many transfers of these performances can be called 'good'. They merely vary between 'god-awful' and 'acceptable'. And that, too, differs according to your predilections.

If you want insight into Beethoven performance practice; want to hear Schnabel play these works; are prepared to leave the Maurizio-Pollini-standard-of-technical-perfection far, far behind you and if you don't mind sound that reminds you of war-reels, you ought to hear Schnabel in this.

That being established (or not, as it were), the question comes up as to which transfer of these performances. The first answer can easily be had: NOT the EMI transfers. They are probably the worst(except for some excerpts on a Philips collection of these pieces) I have heard. Neither really clean nor realistic, they will offend most anyone.

If you can't stand surface noise, hiss, hickups and speckle you will be best off with the DANTE transfers. Very little noise but also rather thin... some will argue that the life has been sucked out of them. But on the surface (literally), they are the least offensive.

If you rather have general hiss, noise and whatnot... but can't stand a 'veil' over the playing and want to hear the fullest piano sound (apart from that white noise)... i.e. if you want your brain to filter it out rather than have it be done for you by a computer (which usually means quicker listening-fatigue), you might want to go for PEARL's "natural" transfers.

If you don't want either extreme, go for the well and fairly balanced NAXOS recordings which M.Obert-Thorn put together very well. Best of both worlds - perhaps... but probably still too much noise for the noise-sensitive and maybe not enough realism for those who want to hear as much as they can, even if that means hearing it through the densest, spottiest fire of cracks and plucks and hisses.

If the main objective is to save money, you can give TIM your money... their transfers are on the noisy side, have less volume than Pearl (or even Naxos) - but are better (or at the very least the equal) of the EMI's and much less expensive.

(I have not heard any of the Arkadia or Arabesque transfers.)

Superior Sonic Alternative to Naxos or Pearl's Sizzle-Hissy "Authenticity".......2005-10-30

Maybe I'm alone in this, but I am supremely pleased with this EMI set. I've owned the Pearl for many years and could no longer put up with the "authentic" sizzle of the 78s burying the piano in a sonic sandstorm. Emboldened by reading the many praises of the Naxos CDs, I bought one to sample and was stunned to still hear half of the Pearl "sizzle" still crackling (as well as a significant loss of low-end in the piano). After hearing the low-res samples of the EMI set at Amazon and hearing a "sizzle" reduction, I took a chance and am now a very happy Schnabel/Beethoven owner. For what it's worth, I don't hear a muffled or "boxy" quality to these remasterings. In fact, the piano sounds as full, robust and true to its acoustic space as could be expected from these ancient discs. The only small quibble I have is that, unlike the Naxos versions, the movements do a quick-fade out at the end.

Schnabel's fascinating approach to Beethoven.......2004-12-26

Though several fine pianists (and Daniel Barenboim) have all taken a stab at the complete piano sonatas of Beethoven, among them Wilhelm Kempff, Alfred Brendel, Claude Frank and Russell Sherman--all of whom had wonderful moments in their sets--the only two pianists who have truly captured the Beethovian magic throughout their cycles were Artur Schnabel and John O'Conor, for completely opposite reasons.

Schnabel was probably the only pianist of his era who played the piano in a manner reminiscent of Glenn Gould. He preferred an instrument with a lean tone, used the sustain pedal very rarely, and worked very hard to bring out inner voices, counterpoint, fugues and canons. He played all of the fast movements at Beethoven's written tempi, even when his flawed technique was not up to the task (the worst example being the first movement of the "Hammerklavier"), and all of the slow movements slower than written. In many of these he was able to bring out a "spiritual" quality that went straight to the heart of those Beethoven-lovers who saw his music in this vein. Yet in relistening to his complete set, modern ears hear more problems in the later sonatas (22-32) than our forebears probably heard: inaccurate playing of syncopated rhythms, for example in Sonata No. 29, and sometimes clumsy handling of some of those slow movements (i.e., the first movement of Sonata No. 12). In many other sonatas, however-including the Op. 49 pair, which were, after all, very early sonatas simply published in the middle of the series-his approach was nonpareil and still remains an object-lesson for aspiring Beethoven pianists.

O'Conor, by contrast, uses a rich-toned Steinway, is a master technician and a master of pedal effects. His Beethoven does not always follow the written dynamic contrasts, especially in most of the early sonatas (1-11), because, as he told me, "the fortepianos of Beethoven's time were incapable of them." Historically accurate, but not necessarily the composer's intentions. We know that he was delighted when more powerful pianos appeared, shortly before he lost his hearing for good (around 1805), and that he stated to friends that he thought of all his sonatas being played on that kind of instrument.

Yet, paradoxically, O'Conor's more legato phrasing and singing tone often brings out the very best in Beethoven, particularly in sonatas 22-32 but also in numbers 12, 14 ("Moonlight") and 16, where he scores many points in continuity over Schnabel. Moreover, he, too, brings out many of the inner voices whenever contrapuntal effects are called for, and combined with his sterling technique and "binding" of phrases, this can create a mesmerizing effect. I therefore feel that the best of both pianist's sets can combine to make a very satisfying set of the 32 sonatas.

Your choice between them will, of course, be a matter of personal taste, but I can assure you that EMI's remastering of the Schnabel recordings is nothing less than miraculous. Only rarely does one hear even the merest swish of the old 78-rpm records. They are noiseless, bringing out the very finest nuance of Schnabel's playing. And the O'Conor set is, of course, digital, though I find that boosting the treble is sometimes necessary as Telarc has always tended to prefer somewhat dull sound.

the ecstasy and the agony.......2004-12-11

Beethoven 10/10
Schnabel 10/10
EMI's transfers of these legendary recordings 0/10 - worthless rubbish - my deaf cat could do a better job.
Go for the Naxos - they know what they are doing...

Unfortunately I am unable to give this no stars - how much it is deserved!

Schnabel plays Beethoven: The 'Named Sonatas"

Average customer rating:

Definitive reissue of these definitive performances
Striking Performances - Excellent Sound
Make this your starting point

Schnabel plays Beethoven: The 'Named Sonatas"

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Schubert: Wanderer-Fantasie; Schumann / Clifford Curzon
Beethoven: The Complete Piano Sonatas
Debussy: Préludes
Beethoven: Piano Sonatas Nos. 8, 14, 21 & 23 / Wilhem Kempff
The Complete Chopin Recordings

ASIN: B00004U35D
Release Date: 2000-08-22

Tracks:

Sonata No. 8 In C Minor, Op. 13 - Pathetique: Grave. Allegro di molto e con brio
Sonata No. 8 In C Minor, Op. 13 - Pathetique: Adagio cantabile
Sonata No. 8 In C Minor, Op. 13 - Pathetique: Rondo. Allegro
Sonata No. 14 In C Sharp Minor, Op. 27, No. 2 - Moonlight: Adagio sostenuto
Sonata No. 14 In C Sharp Minor, Op. 27, No. 2 - Moonlight: Allegretto
Sonata No. 14 In C Sharp Minor, Op. 27, No. 2 - Moonlight: Presto agitato
Sonata No. 15 In D, Op. 28 - Pastoral: Allegro
Sonata No. 15 In D, Op. 28 - Pastoral: Andante
Sonata No. 15 In D, Op. 28 - Pastoral: Scherzo
Sonata No. 15 In D, Op. 28 - Pastoral: Rondo
Sonata No. 21 In C, Op. 53 - Waldstein: Allegro con brio
Sonata No. 21 In C, Op. 53 - Waldstein: Introduzione. Adagio molto
Sonata No. 21 In C, Op. 53 - Waldstein: Rondo. Allegretto moderato. Prestissimo

Tracks:

Sonata No. 23 In F Minor, Op. 57 - Appassionata: Allegro assai
Sonata No. 23 In F Minor, Op. 57 - Appassionata: Andante con moto
Sonata No. 23 In F Minor, Op. 57 - Appassionata: Allegro ma non troppo
Sonata No. 26 In E Flat, Op. 90 - Les Adieux: Adagio. Allegro
Sonata No. 26 In E Flat, Op. 90 - Les Adieux: Andante espressivo
Sonata No. 26 In E Flat, Op. 90 - Les Adieux: Vivacissimamente
Sonata No. 29, Op. 106 - Hammerklavier: Allegro
Sonata No. 29, Op. 106 - Hammerklavier: Scherzo. Assai vivace
Sonata No. 29, Op. 106 - Hammerklavier: Adagio sostenuto
Sonata No. 29, Op. 106 - Hammerklavier: Largo. Allegro risoluto

Amazon.com

When compact discs first came out, the first thing many longtime collectors wanted to know was, When does Schnabel's Beethoven become available? That the pianist's pioneering recordings of Beethoven's 32 Sonatas for Piano have been in print almost continuously since 1935 testifies to the esteem in which they continue to be held. Schnabel's performances are best heard in Pearl's five full-priced sets (about $180), rather than in EMI's less expensive box set (just under $80). Listeners who cannot afford such an investment owe it to themselves to investigate this two-disc sampler from Pearl, featuring Sonatas Nos. 8 ("Pathétique"), 14 ("Moonlight"), 15 ("Pastoral"), 21 ("Waldstein"), 23 ("Appassionata"), 26 ("Les Adieux"), and 29 ("Hammerklavier"). Schnabel was a founding father of musical modernism, which demanded that music be performed exactly as written, with the performer serving as no more than a transparent medium. Fortunately, Schnabel's ideology was not consistent with his practice. His softening of melodic contours, his free changing of tempos, his imaginative use of tone colors, his mailed-fist-in-a-velvet-glove power, and the unearthly beauty of his singing legato in pianissimo passages were those of a full-blown Romantic pianist. Certainly, no one ever served Beethoven's music better. Whether in the chain-reaction explosions of the "Appassionata," the sustained reveries of the opening movement of the "Moonlight," or the contrapuntal complexities of the finale of the "Hammerklavier," Schnabel never failed to demonstrate a genius for keeping the listener's ears in a state of perpetual expectation. --Stephen Wigler

Customer Reviews:

Definitive reissue of these definitive performances.......2005-12-19

I've heard many reissues of these performances --- the Seraphim LPs, the EMI and Naxos CDs. Without question the Pearl series far exceeds the others in its fresh sound. The Pearl series sounds unfiltered --- it has the greatest surface noise, but for the first time you can actually hear the sparkle and vibrancy of Schnabel's piano --- almost like a modern recording with a lot of noise. That sparkle gives the music a psychoacoustic aliveness that is profoundly important to the emotional impact. The engineering of the new Naxos series puts the musician behind a veil of 70 years. The Pearl series brings Schanbel into your room now. The mind can filter out the surface noise and hear the vibrancy present. Perhaps someday computers will be able to do this for us (perhaps they already can---listen to the Sony reissue of Louis Armstrong's Hot 5 and 7s). As to the performances --- I've focus on the sound, because the performances are simply essential to any lover of Beethoven; when I sit down and close my eyes and listen, Schnabel more than any interpreter evokes a stream of images, moments, characters, feelings, and indescribable stories that inhabit Beethoven's musical world. It's not simply that I like Schnabel's performances. I like many other pianists' performances. But Schnabel opens the gates of the imagination.

Striking Performances - Excellent Sound.......2002-02-08

Schnabel's performances are quite amazing. I could not disagree more with the reviewer who found the performance of the 29th Sonata to be a 'disaster' - it's true that Schnabel drops a few notes here and there, but the performance is so fiery and energetic that it doesn't matter. I spent months listening to the Kempff recording (which I quite respect and do not mean to insult) trying to understand what I'd been told was a great masterpiece - it just didn't grab me. With that preparation, however, when I first heard the Schnabel recording it was like being struck by lightning - I was riveted, transfixed. It spoke directly to me. You can't beat that.

I don't normally consider myself an audiophile - I'm usually happy to sacrifice a little sound quality for price (and certainly for performance) considerations, but although I've not heard the EMI box, I have heard CD reissues of this material that sound AWFUL. The Pearl editions are worth the extra money. The 'hiss' that was complained of in another review has been removed from other editions at the expense of the music. Besides, you can always turn down the treble a notch if you need to.

This is a fine sampler, but save up and get all 5 volumes of the Pearl set.

Make this your starting point.......2002-01-24

I think this compilation serves as an excellent sampler of the entire Pearl series of Schnabel's Beethoven recordings. The first item, the "Pathetique" Sonata, sets the stage for Schnabel's unique music-making: a fierce, driving First Movement (with liberal accelerandi applied to the Coda); a meditative, rapt Slow Movement; and again, a charged Finale. Schnabel makes no attempt to smooth over or prettify the music; all the raw emotion is here. For those who have heard the "Moonlight" Sonata too often, Schnabel's deeply felt and yet totally unsentimental approach will be a revelation. The "Hammerklavier" Sonata will come as a shock at first, with a First Movement tempo so furious that the pianist's fingers occasionally derail. And yet, repeated hearings have convinced me that this is the way the music must go, hectic, frantic, manic. After hearing this sampler, begin saving up for all 5 of the Pearl volumes.

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