Beethoven: Piano Sonatas Nos. 23 & 32, Diabelli Variations, Six Bagatelles [Import]

Track Listings

1. Beethoven: Piano Sonata No. 32 In C Minor, Op 111

2. Beethoven: Piano Sonata No. 23 In F Minor, Op 57 'Appassionata'

3. Mozart: Piano Sonata No. 16 In C Major, Kv 545

4. Mozart: Piano Sonata No. 13 In B Flat Major, Mv 333/315c

5. Beethoven: 33 Variations On A Waltz By Diabelli, Op. 120

6. Beethoven: Six Bagatelles, Op 126

7. Beethoven: Polonaise In C, Op 89

Editorial Reviews
Album Description
Import exclusive two CD set for the former piano prodigy who died tragically in 1969 at age 42. Decca. 2004.

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tracks:

I. Andante - Allegro
II. Allegro Molto E Vivace
III. Adagio Con Espressione
IV. Allegro Vivace
I. Allegro Assai
II. Andante Con Moto
III. Allegro Mo Non Troppo - Presto
I. Adagio Sostenuto
II. Allergetto
III. Presto Agitato

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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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: Piano Sonatas Nos. 14 "Moonlight", 21 "Waldstein", 23 "Appassionata"

Average customer rating:

Close, but no Cigar

Beethoven: Piano Sonatas Nos. 14 "Moonlight", 21 "Waldstein", 23 "Appassionata"

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Arthur Rubinstein: Ludwig Van Beethoven Piano Sonatas

ASIN: B0002J5932
Release Date: 2004-08-03

Customer Reviews:

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

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

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

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

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

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

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

Beethoven: Piano Concerto No. 5; Piano Sonatas Nos. 8 & 23

Average customer rating:

Probably the best of the 5th
Sublime and justly famous rendition of 5th Piano Concerto

Beethoven: Piano Concerto No. 5; Piano Sonatas Nos. 8 & 23

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Artur Schnabel
Beethoven: Piano Sonatas Opp. 90, 101, 106, 109, 110 & 111

ASIN: B00005ONOZ
Release Date: 2002-03-12

Tracks:

I. Allegro
II. Adagio Un Poco Mosso
III. Rondo (Allegro)
I. Grave - Allegro Molto E Con Brio
II. Adagio Cantabile
III. Rondo (Allegro)
I. Allegro Assai - Piu Allegro
II. Andante Con Moto
III. Allegro Ma Non Troppo - Presto

Customer Reviews:

Probably the best of the 5th .......2005-05-02

I have always liked Furtwangler's conducting of Beethoven's music. This one with Edwin Fischer is another top performance despite some slight hiss, but EMI did a very good transfer, and the listener is soon fascinated by the conductor's performance of Beethoven's piano concerto. Personally, I think this would be the "definitive" performance of the 5th piano concerto. The two sonatas which follow are extra bargains from Fischer's sublime playing of Beethoven. Here we get two sonatas instead of one on the first edition of the Concerto by EMI in 1987 (sonata No. 7). I would also recommend the excellent performance of these two giants of Brahms' second concerto available on EMI Reference series.

Sublime and justly famous rendition of 5th Piano Concerto.......2003-10-22

What can I say? Vintage classical recordings don't get much better than this. Furtwangler is wonderful as always when conducting Beethoven, and Fischer's playing is top-notch in both the concerto and accompanying sonatas. The sound is not bad for its age (1951) -- it's clean and clear mono, with negligible tape hiss and decent dynamic range. While perhaps not an absolute first choice (certainly not for novices, who will no doubt want something in more modern if not digital sound), I can strongly recommend this for anyone with a love for Beethoven, & Furtwangler performances in particular.

Beethoven: Sonatas Nos. 7, 14 "Moonlight," 22, 23 "Appassionata"

Average customer rating:

Superb Beethoven
Amazing Beethoven

Beethoven: Sonatas Nos. 7, 14 "Moonlight," 22, 23 "Appassionata"

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000B7HZ3M
Release Date: 2005-11-08

Tracks:

Sonato Op. 10, No. 3 in D Minor
Sonata Op. 27, No. 2 in C-Sharp Minor ("Moonlight")
Sonata Op. 54 in F Major
Sonata Op. 57 in F Minor ("Appassionata")

Album Description

Nikolai Lugansky studied with the late, great Russian pianist Tatiana Nikollayeva, winning a silver medal in the 1988 Leipzig International Bach Competition and second price in the 1990 Moscow Rachmaninov Competition. After taking the top prize at the International Tchaikovsky Competition in 1994, Lugansky's international career was launched with a string of celebrated concert appearances and recordings. Following the critical success of Rachmaninov, Prokovfiev, Chopin, and Britten CD's Nikolai Lugansky expands his Warner Classics discography with a new recording of four Beethoven sonatas including the celebrated "Appassionata" and "Moonlight" Sonatas.

Customer Reviews:

Superb Beethoven.......2005-11-30

Nikolai Lugansky has put together an intriguing Beethoven recital, mixing two famous sonatas with two other less well known but masterful works, op.10,no.3, and op. 54. Lugansky's magnificant technique is on full display in all these great sonatas. I particularly enjoyed his approach to the last movement of the Moonlight, when he allows the more lyrical sections to emerge, as well as his ability to bring off an extremely slow tempo in the great second movement of op.10, no.3. The Appassionata is simply staggering---I can't recall anyone bringing this kind of clarity on a modern instrument in this work. I hope Lugansky records more Beethoven. Not many of the great Russian virtuosi have succeeded in this repertoire, Richter and Gilels of course being exceptions, but based upon this recording Lugansky may be ready to join that august company. The recording quality is fantastic, a real asset in these sonatas. Highly recommended.

Amazing Beethoven.......2005-11-18

This cd is absolutely great, a fantastic addition for a collection of Beethooven's sonatas. Lugansky has just proved to be one of the greatest pianists in the world currently and the "ideal interpreter" of Rachmaninov. He has a prodigius technique and a princelike elegance while playing. This recording reminds me Arrau's one (the 60's period). Arrau's sound more powerful in the "Appassionata" whereas Lugansky is more virtuosic. Lugansky's "Moonlight" has a wonderful warm tone while Arrau is more thoughtful and mystic.
The sound quality is excellent. Another jewel from this amazing Russian virtuoso.

Beethoven: Piano Sonatas Nos. 21, 23, 26 [Hybrid SACD]

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Beethoven: Piano Sonatas Nos. 21, 23, 26 [Hybrid SACD]

Manufacturer: PentaTone
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000AJF9Y
Release Date: 2003-01-01

Beethoven: Piano Sonatas Nos. 14, 17 and 23

Average customer rating:

Great Performances by a Great Pianist
The best cd I have ever heard

Beethoven: Piano Sonatas Nos. 14, 17 and 23

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Beethoven: Piano Sonatas

ASIN: B00004Z1AF
Release Date: 2001-03-27

Tracks:

Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight': 1. Adagio sostenuto - attacca
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight': 2. Allegretto - attacca
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No. 2 'Moonlight': 3. Presto agitato
Piano Sonata No. 17 In D Minor, Op. 31 No. 2 'Tempest': 1. Largo - Allegro
Piano Sonata No. 17 In D Minor, Op. 31 No. 2 'Tempest': 2. Adagio
Piano Sonata No. 17 In D Minor, Op. 31 No. 2 'Tempest': 3. Allegretto
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 - attacca
Piano Sonata No. 23 In F Minor, Op. 57 'Appassionata': 3. Allegro, ma non troppo

Customer Reviews:

Great Performances by a Great Pianist.......2006-06-04

Reading the only other review on this page, I thought I could write a more informative piece. Three of the most popular Beethoven piano sonatas are performed by one of the greatest pianists to have recorded, Wilhelm Kempff. The production is from Universal Classics (Deutsche Grammophon) and dates back from 1965, which is the only drawback of the recordings. The recording is stereo (not that it matters much since there's only the piano playing) but is not immaculate. Neither is it a reason not to buy this record, as it is more than bearable. You could consider instead of the present compilation, the "Deutsche Grammophon Originals" featuring Beethoven Sonatas no. 8, 14, 21, 23. (You miss the "Tempest")

Wihelm Kempff plays excellent. I would highly recommend to hear his recordings of Beethoven either through this CD or alternative compilations. Of course it is not very easy to say that any CD is the best one has purchased, but you will certainly enjoy this very much. And its price is all the more inviting.

The best cd I have ever heard.......2002-05-17

I put this cd in my player and expected to just another Beethoven cd of poor quality. I was completly surprised to find that the quality of the recording was beautiful! The sound is clear, sharp, and vivid. Wilhelm Kempff did a wonderful job on interpreting the facinating and complex world of the Beethoven compositions. I listened and noticed that he played it just like Beethoven would have played it. The recording is perfectly accurate with the original scores. I would highly recommend this recording to anyone. I hope that you enjoy and receive as much inspiration from this cd as I have!

Beethoven: Piano Concertos Nos. 1 - 5, Piano Sonatas Nos. 23 & 24 [Germany]

Average customer rating:

Beethoven: Piano Concertos Nos. 1 - 5, Piano Sonatas Nos. 23 & 24 [Germany]
Gulda , Stein , and Vienna Philharmonic Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000028DL1
Release Date: 2005-07-08

Tracks:

Piano Concerto No. 1 In C Major, Op.15
Piano Sonata No. 23 In F Minor, Op. 57 - Appassionata
Piano Sonata No. 24 In F# Major, Op. 78 - A The
Piano Concerto No. 2 In B Major, Op. 19
Piano Concerto No. 3 In C Major, Op. 37
Piano Concerto No. 4 In G Major, Op. 58
Piano Concerto No. 5 In E Flat Major, Op. 73

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

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Historic recordings by a legendary pianist

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

General | Classical | Styles | Music

The Decca Records Store | Specialty Stores | Music
ASIN: B000066SBC
Release Date: 2005-07-07

Tracks:

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

Customer Reviews:

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

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

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

Listen and understand.

Track Listings:

Track Listings

track listings

Track Listings

Instincts

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Raw Life: Live in Osaka [Live] [Import]

O Mestre Leo Perachi E a Jazz Sinfonica: Cancoes De Tom E Vinicius [Import]

Psychedelic Sounds Of The 13th Floor Elevators

Metamorphosis [Import]

Mahler: Symphony No.1 [Import]

Music for Holding Hands [Import] [Original recording remastered]

La Reina De Las Bandas

Las Tres Flautas: Javier Y Su Charanga [Import]

I Feel Free: Ultimate Cream

Alternative 4

1. Beethoven: Piano Sonata No. 32 In C Minor, Op 111
2. Beethoven: Piano Sonata No. 23 In F Minor, Op 57 'Appassionata'
3. Mozart: Piano Sonata No. 16 In C Major, Kv 545
4. Mozart: Piano Sonata No. 13 In B Flat Major, Mv 333/315c
5. Beethoven: 33 Variations On A Waltz By Diabelli, Op. 120
6. Beethoven: Six Bagatelles, Op 126
7. Beethoven: Polonaise In C, Op 89