Beethoven: Late Piano Sonatas [Import]

Track Listings

1. Sonata No. 28 In A Major, Op. 101 - 1. Etwas Lebhaft Und Mit Der Innigsten Empfindung (Allegretto M

2. Sonata No. 28 In A Major, Op. 101 - 2. Lebhaft, Marschmaessig (Vivace Alla Marcia)

3. Sonata No. 28 In A Major, Op. 101 - 3. Langsam Un Sehnsuchtvoll (Adagio Ma Non Troppo, Con Affetto)

4. Sonata No. 28 In A Major, Op. 101 - 4. Geschwind, Doch Nicht Zu Sehr Und Mit Entschlossenheit (Alle

5. Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 1. Allegro

6. Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 2. Scherzo (Assai Vivace-Presto-Prestissim

7. Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 3. Adagio Sostenuto-Appassionato E Con Mol

8. Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 4. Largo-Allegro Risoluto

9. Sonata No. 30 In E Major, Op. 109 - 1. Vivace, Ma Non Troppo-Adagio Espressivo-Tempo 1 - 2. Presti

10. Sonata No. 30 In E Major, Op. 109 - 3. Gesangvoll, Mit Innigster Empfindung (Andante Molto Cantabi

11. Sonata No. 31 In A Flat Major, Op. 110 - 1. Moderato Cantabile Molto Espressivo

12. Sonata No. 31 In A Flat Major, Op. 110 - 2. Allegro Molto

13. Sonata No. 31 In A Flat Major, Op. 110 - 3. Adagio Ma Non Troppo

14. Sonata No. 31 In A Flat Major, Op. 110 - 4. Fuga (Allegro Ma Non Troppo)

15. Sonata No. 32 In C Minor, Op. 111 - 1. Maestoso-Allegro Con Brio E Appassionato

16. Sonata No. 32 In C Minor, Op. 111 - 2. Arietta (Adagio Molto Semplice E Cantabile)

Tracks:

The Late Sonatas: Sonata #28 in A, op.101, 1 - Somewhat lively and with deepest feelin - Ludwig Van Beethoven
The Late Sonatas: 2 - Lively. March Tempo - Ludwig Van Beethoven
The Late Sonatas: 3 - Slow & yearning; Tempo of the 1st mvt.; Swiftly, but not too much, and with determination - Ludwig Van Beethoven
The Late Sonatas: Sonata #29 in Bb, op.106 - Allegro - Ludwig Van Beethoven
The Late Sonatas: 2 - Scherzo: Assai vivace - Ludwig Van Beethoven
The Late Sonatas: 3 - Adagio sostenuto - Ludwig Van Beethoven
The Late Sonatas: 4 - Largo; Fuga; Allegro risoluto - Ludwig Van Beethoven

Tracks:

No.30 In E Major, Op.109: 1. Vivace, ma non troppo, Adagio espressivo - L.V. Beethoven
No.30 In E Major, Op.109: 2 - Prestissimo - L.V. Beethoven
No.30 In E Major, Op.109: 3 - Tema; Molto cantabile & espressivo; Variazioni I-VI - L.V. Beethoven
No.31 In C Minor, Op.111: Moderato cantabile, molto espressivo - L.V. Beethoven
No.31 In C Minor, Op.111: 2 - Allego molto - L.V. Beethoven
No.31 In C Minor, Op.111: 3 - Adagio ma non troppo; Arioso dolente; Fuga; Allegro, ma non troppo; L'istesso tempo di Arioso; L'inversione della Fuga - L.V. Beethoven
No.32 In C Minor, Op.111: Maestoso, Allegro con brio ed appassionato - L.V. Beethoven
No.32 In C Minor, Op.111: 2 - Arietta; Adagio molto semplice e cantabile - L.V. Beethoven

Customer Reviews:

Beethoven: The Late Sonatas performed by Richard Goode.......2007-03-09

In the hands of one of today's virtuosos, the profundity of these masterpieces comes shining through.

Excellent "Hammerklavier" and very good Op.111, but..........2004-05-27

I own the complete set of Beethoven sonatas by Goode and I have to say that he is significantly better at playing the early- and mid-period sonatas, at which he is probably the best pianist on record (though never perfect, unfortunately). He is not so good with the late sonatas, with the (large) exception of the Op.106 sonata, which he performs marvellously (one of the best of record), and the Op.111 sonata which is excellent too. He has been praised for his Op.101 and Op.110 sonatas, too, I believe, but I distinctly prefer Brendel for those and the Op.109. Although, I have yet to hear recordings of those works which come close to my idea of perfection.

I would strongly recommend buying the complete set of sonatas by Richard Goode, but I do not believe he is that brilliant for the 'late' ones.

great music well played.......2001-03-22

Beethoven's late sonatas live at a musical frontier no one else has reached, or likely ever will. They're probably the greatest music ever written. LB complained the piano wasn't good enough to realize them, but Kempff and Goode prove him wrong. You won't go wrong with either of these gentlemen, but be forewarned: this is music whose beauty will make you weep, and lesser works and composers will seem sadly diminished.

If it sounds good, it IS Goode........2001-03-02

If ever there were a more genuine Beethoven inerpreter, it would surely be Ludwig himself. An earlier reviewer of this disc suggested that this recording is boring. I'm not sure what type of ears it takes to hear these as boring. These pieces are exciting ones and do require powerful performances, but this does not always entail pyrotechnics. Goode has a profound way of reading between the lines and giving us insight into Beethoven's intensely personal pieces. If one reads the reviews of Goode's complete Beethoven Sonatas, he will find that none of the reviewers suggest anything close to the sentiment of the first reviewer. People have their personal taste when speaking of interpretation, but at least Goode has the courage to put his out there for all to hear. Goode has not taken "a helicopter to the top of Everest." He has spent decades honing his skills to a fine point. Goode has the reputation of a musician's musician. And, in this day in age, NO ONE is more revered as a Beethoven interpreter/performer. He draws packed houses all over the world of people waiting to see what he will do onstage. Goode gives us the humanity that we only dare show ourselves behind locked doors.

If it sounds good, it is Goode........2001-03-02

Average customer rating:

Brendel gets it right.
Comparison between Rosen's and Brendel's
Musically and intellectually solid.
The real Hammerklavier
Tremendous

Beethoven: The Late Piano Sonatas
Ludwig van Beethoven , and Alfred Brendel
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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Alfred Brendel plays Beethoven Piano Sonatas, Vol. 1

ASIN: B00000416N
Release Date: 1993-08-10

Tracks:

Sonata No. 27 In E Minor, Op. 90: I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Sonata No. 27 In E Minor, Op. 90: II. Nicht zu geschwind und sehr singbar vorgetragen
Sonata No. 28 in A, op. 101: I. Etwas lebhaft und mit der innigsten Empfindung (Allegretto ma non troppo)
Sonata No. 28 in A, op. 101: II. Lebhaft, marschmassig (Vivace alla marcia)
Sonata No. 28 in A, op. 101: III. Langsam und sehnsuchtsvoll (Adagio ma non troppo, con affetto)
Sonata No. 28 in A, op. 101: IV. Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro)
Sonata No. 30 In E, Op. 109: I. Vivace, ma non troppo - Adagio espressivo - Tempo I
Sonata No. 30 In E, Op. 109: II. Prestissimo
Sonata No. 30 In E, Op. 109: III. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo)
Sonata No. 31 In A Flat, Op. 110: I. Moderato cantabile molto espressivo
Sonata No. 31 In A Flat, Op. 110: II. Allegro molto
Sonata No. 31 In A Flat, Op. 110: III. Adagio ma non troppo
Sonata No. 31 In A Flat, Op. 110: Fuga (Allegro ma non troppo)

Tracks:

Sonata No. 29 In B-Flat, Op.106 'Hammerklavier': I. Allegro
Sonata No. 29 In B-Flat, Op.106 'Hammerklavier': II. Scherzo (Assai vivace)
Sonata No. 29 In B-Flat, Op.106 'Hammerklavier': III. Adagio sostenuto
Sonata No. 29 In B-Flat, Op.106 'Hammerklavier': IV. Largo - Allegro risoluto
Sonata No. 32 In C Minor, Op. 111: I. Maestoso
Sonata No. 32 In C Minor, Op. 111: Allegro con brio ed appassionato
Sonata No. 32 In C Minor, Op. 111: II. Arietta (Adagio molto semplice e cantabile)

Customer Reviews:

Brendel gets it right........2007-07-17

To me Brendel is one of the best Beethoven interpreters I've heard. He has a reputation of trying to be true to the composers wishes, rather than trying to inject his own personal flourishes into the music. His recording here of the late Beethoven piano sonatas are probably as close to what Beethoven intended as any recording you'll find.

These later sonatas are probably a bit less accessible than most of Beethovens earlier ones, but ultimately represent some of the most emotionally involving (as well as technically demanding) solo piano works Beethoven wrote. Newcomers to Beethoven may find some of these sonatas a "tough nut to crack" initially but they are an important part of Beethovens music (as well as 19th music in general)

The only downside I can think of is that sometimes the sound quality drops off noticeably in segments, but thankfully the chair creaking is kept to a minimum!

Comparison between Rosen's and Brendel's.......2007-04-26

Both Rosen's and Brendel's are great recordings which testify their unquestionable musicianship. But their views of these monumental works couldn't be more different. Rosen tries to bring the emotion and meaning of every bar to light. Brendel on the other hand chooses to hide inside Beethoven's subconscious. Rosen is explicit. Brendel suggestive.
The first thing I noticed in Rosen's is his bright, immediate tone. This tonal quality serves his voluptuous interpretations well. Loud passages are thunderous and percussive. Quiet ones are unmistakably lyrical. Transition from piano to forte (or from forte to piano) is sudden and dramatic. His piano shouts, stomps, moans, and sighs with the music. And you are right - Rosen here reminds us of the great Horowitz in every way.
Brendel is on the other end of the interpretative spectrum. He never bangs on the keys. His careful voicing of certain chords always makes them sound just the way he wants. His fortes are incisive rather than explosive. In slow passages, you get to meet Brendel the hypnotist. He truly knows how to create long arch-like lines while expressing the hidden nuances. Unlike the ever flexible Rosen, he keeps his pulse rock steady. Combine all these qualities with his delicately veiled tone and you are taken to the world of the subconscious.
There is no point in trying to choose between the two recordings. The lights they shed on these works are so different they are like two different movies based on the same story. Stick to only one then you will miss a lot.

Musically and intellectually solid........2006-03-22

While no one doubts Brendel's pianism, the consensus seems to be that his interpretive ability is limited and therefore lacking, no matter the vehicle. I agree to a certain extent, but with Beethoven's late sonatas, Brendel is in his element. He possesses just the right balance of a strict interpretation and a musical understanding that can be achieved only after many years of study and playing. This recording displays such a wonderful attention to detail and a powerful understanding of the music's overall scope that these sonatas seem to have been written with just such a performer in mind.

The gap between the very fine sonata op. 90 and the wonderful, truly late op. 101 is a wide one and why the former is often included with the 'Great Five' is probably due to its second movement, to which a purported Schubertian lyricism is pointed. (This kind of gracious, beautiful melodic writing was a part of Beethoven's musical personality from the beginning -- listen to the fourth movement of his op. 7 sonata for a good example.) Here, Brendel's playing brings out the music's forceful insistence and intensity (plus an excellent left hand, with its occasional broken tenths) as well as its subsequent tenderness just mentioned in the famous 'battle between the heart and head' (Beethoven's description of the piece).

The rest of the sonatas fare even better and although I could cite many examples, high points include Brendel's interpretation of the magical re-statement of op. 101's first movement's main theme after its dark, resigned third movement. The following joyful, very funny fugue is just right -- Brendel plays it straight and Beethoven wins. Op. 106 is not my favorite Beethoven sonata (I'm always shaken, but not stirred), but Brendel makes a more convincing case for it than any other interpreter. The last three sonatas are, in my opinion, some of Beethoven's very finest music and while I do wish for a bit more emotional depth (particularly in opp. 109, 110), the handling of the variations in 109, 111, the tension and ultimate, exultant release of 110's fugue (Brendel interprets this as a single fugue and I agree!), and the dualism of much of this music (the contrasts of op. 109's first movement, the arioso/fugue of op. 110, the ominous scherzo in 110 and its giddy trio, and the simple tension and relaxation of 111) permeates his performances.

If you love Beethoven's music, you will love this recording. I've listened to it many times and there is always, always something new to hear. Such is great music and such are great performances.

The real Hammerklavier.......2005-12-31

Unlike his newer, 1990s recordings of these pieces, Brendel's '70s versions have forcefulness, vision, and music, and all of that with the distinctive "intellectualism" that is his idiom and which signifies merely that the music is being respected, listened to, and taken seriously by the perfomer. I can't say I've ever heard a better version of the "Hammerklavier" overall. The other sonatas are done just as well.

Good sound, too - the microphones are not jammed in among the piano strings.

One of those rare recordings you can "marry" and spend a lifetime with.

Tremendous.......2002-04-10

As an introduction to Beethoven's late sonatas, this 2 cd set can't be beat, especially at the price.
While I prefer a more violent Hammerklavier, Brendel's, along with No.s 27 and 28, is far more than merely adequate. The deeply introspective nature of all of these pieces make numerous interpretations well worthwhile anyway.
But what really stands out in this set is the Arietta of opus 111. It seems to me that maybe Brendel was just playing the Maestoso to get to the soul of the work, but it's likely that's just my own overly eager anticipation as the listener! His Arietta is the most exquisite I've heard; the pain and joy and revelation are life-changingly astounding.
Buy it as an introduction, treasure it for No. 32.

Average customer rating:

An aristocratic approach

Beethoven: Late Piano Sonatas
Claudio Arrau
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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Alfred Brendel plays Beethoven Piano Sonatas, Vol. 1

ASIN: B00005O83X
Release Date: 2001-09-04

Tracks:

Sonata No. 28 In A Major, Op. 101 - 1. Etwas Lebhaft Und Mit Der Innigsten Empfindung (Allegretto M
Sonata No. 28 In A Major, Op. 101 - 2. Lebhaft, Marschmaessig (Vivace Alla Marcia)
Sonata No. 28 In A Major, Op. 101 - 3. Langsam Un Sehnsuchtvoll (Adagio Ma Non Troppo, Con Affetto)
Sonata No. 28 In A Major, Op. 101 - 4. Geschwind, Doch Nicht Zu Sehr Und Mit Entschlossenheit (Alle
Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 1. Allegro
Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 2. Scherzo (Assai Vivace-Presto-Prestissim
Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 3. Adagio Sostenuto-Appassionato E Con Mol
Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 4. Largo-Allegro Risoluto
Sonata No. 30 In E Major, Op. 109 - 1. Vivace, Ma Non Troppo-Adagio Espressivo-Tempo 1 - 2. Presti
Sonata No. 30 In E Major, Op. 109 - 3. Gesangvoll, Mit Innigster Empfindung (Andante Molto Cantabi
Sonata No. 31 In A Flat Major, Op. 110 - 1. Moderato Cantabile Molto Espressivo
Sonata No. 31 In A Flat Major, Op. 110 - 2. Allegro Molto
Sonata No. 31 In A Flat Major, Op. 110 - 3. Adagio Ma Non Troppo
Sonata No. 31 In A Flat Major, Op. 110 - 4. Fuga (Allegro Ma Non Troppo)
Sonata No. 32 In C Minor, Op. 111 - 1. Maestoso-Allegro Con Brio E Appassionato
Sonata No. 32 In C Minor, Op. 111 - 2. Arietta (Adagio Molto Semplice E Cantabile)

Customer Reviews:

An aristocratic approach.......2006-02-10

Have not doubt - Arrau's playing is very distinct. He played Beethoven like no other. His playing may be a bit idiosyncratic (not in the Glen Gould fashion) but it's an absolute delight. This collection contains the final sonatas that in my mind are the best examples of Beethoven's genius. The "Hammerklavier" is unsurpassed and I could only compare it with Pollini's account. At this price it's tough to find a better collection for these sonatas

Average customer rating:

Many Great Moments
Greatly improved sound quality
Get the Solomon instead.
Awe inspiring
The best piano music in the world

Beethoven: The Late Piano Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Schubert: Impromptus D 899 & D 935 / Radu Lupu

ASIN: B000001GY0
Release Date: 1997-02-11

Tracks:

Sonata No. 27 In E Minor Op. 90: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck - L.V. Beethoven
Sonata No. 27 In E Minor Op. 90: 2. Nicht zu geschwind und sehr singbar vorzutragen - L.V. Beethoven
Sonata No. 28 In A Major Op. 101: 1. Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo - L.V. Beethoven
Sonata No. 28 In A Major Op. 101: 2. Lebhaft, marschmassig. Vivace alla Marcia - L.V. Beethoven
Sonata No. 28 In A Major Op. 101: 3. Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto - attacca: - L.V. Beethoven
Sonata No. 28 In A Major Op. 101: 4. Geschwinde, doch nicht zu sehr und mit Entschlossenheit. Allegro - L.V. Beethoven
Sonata No. 29 In B Flat Major Op. 106 : 'Hammerklavier': 1. Allegro - L.V. Beethoven
Sonata No. 29 In B Flat Major Op. 106 : 'Hammerklavier': 2. Scherzo : Assai vivace - L.V. Beethoven
Sonata No. 29 In B Flat Major Op. 106 : 'Hammerklavier': 3. Adagio sostenuto. Appassionato e con molto sentimento - L.V. Beethoven
Sonata No. 29 In B Flat Major Op. 106 : 'Hammerklavier': 4. Largo - Allegro risoluto - L.V. Beethoven

Tracks:

Sonata No. 30 In E major Op. 109: 1. Vivace, ma non troppo - Ludwig Van Beethoven
Sonata No. 30 In E major Op. 109: 2. Prestissimo - Ludwig Van Beethoven
Sonata No. 30 In E major Op. 109: 3. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) - Ludwig Van Beethoven
Sonata No. 31 In A Flat Major Op. 110: 1. Moderato cantabile molto espressivo - Ludwig Van Beethoven
Sonata No. 31 In A Flat Major Op. 110: 2. Allegro molto - Ludwig Van Beethoven
Sonata No. 31 In A Flat Major Op. 110: 3. Adagio, ma non troppo - Fuga : Allegro, ma non troppo - Ludwig Van Beethoven
Sonata No. 32 In C Minor Op. 111: 1. Maestoso - Allegro con brio ed appassionato - Ludwig Van Beethoven
Sonata No. 32 In C Minor Op. 111: 2. Arietta : Adagio molto semplice e cantabile - Ludwig Van Beethoven

Customer Reviews:

Many Great Moments.......2005-09-19

Wilhelm Kempff is one of those pianists who became famous (along with Brendel, and a few others) for taking a much different interpretive approach to Beethoven's piano music than the usual blood-and-guts style favored by other performers throughout history (all the way back to Beethoven himself, so say contemporary accounts). So if you're looking for that kind of player, I would suggest trying Ashkenazy or even Schnabel.

This legendary pianist is of a different breed. Even in the big crescendos, one hears a sense of reserve in this man's playing that gives the impression of an introverted personality at work, although with absolutely no lack of expressive power or imagination anywhere. It is with much of the music in these late sonatas that this approach works particularly well.

One reason, is that these sonatas ARE more inward-looking and enigmatic than Beethoven's earlier efforts. While there are some real barnstorming moments throughout the late sonatas, they are largely surrounded by long stretches of introspective musical narrative, and moments of quirky abstraction. Beethoven was clearly exploring new territory.

Kempff's strength here, is that not only does he already have the personality for this kind of music, but his incredibly pure musicality and sense of improvisation make even the thorniest moments in these works actually sound...beautiful (not an easy thing to do).

My favorite interpretations by him have been the late Bagatelles (not a part of this set, but very worth getting), the sonatas 27 and 28, AND...the first movement of the "Hammerklavier" sonata (my single favorite recorded performance by this artist).

By now, you might have read another review, posted here, that discusses, and is very critical of Kempff's version of this sonata movement. The reviewer is very knowledgable, and clearly knows what Beethoven's metronome markings are supposed to be. In fact, every point made in the review is well-founded, and difficult to argue (if you haven't read the review, the main point is that it is played too slowly). Of course, most pianists (including people like Pollini) DO take the tempos in the faster movements at least a little bit slower than what Beethoven had originally indicated.

Kempff takes the tempo down yet another couple notches. The result is more of an Allegro Moderato, and a completely different feel than what I'd heard up to then by other pianists. It would be difficult to even describe the first impression it made on me. It was frankly, a bit off-putting until I got used to it. Then, over time, it completely won me over. It might be the first interpretation that has...

You see, I'd always had my doubts about the composition of this movement. There is for me, an impression of fragmentation of ideas/themes throughout the work's structure that gives me the impression of someone on an ill-fated hike through the woods, where one loses all sense of direction, and ends up walking by the same landmarks again and again. Themes seem to spring up repeatedly with too many of their original trappings, and not enough development, and even the fugue in the middle ends all too quickly to my ears. This is not the usual experience I have with Beethoven's music, the (for me) real master of organic structure among all the great composers.

Kempff brings that sense of the "organic" back to the music, not only by taking his time, tempo-wise, but by use of the most brilliant phrasing and pacing of ideas. Suddenly, this movement sounds not like a group of smaller events re-played again and again, but one larger unfolding story. Instead of a labyrinth that takes one through the same section(s) of woods, it now feels like one freshly-cut trail that goes ever deeper into the heart of the forest. If I could use use one word to describe the experience, it would be "kalaidascopic".

Beethoven was once listening to one of the most brilliant young pianists of the day play one of this works, and when she was finished, he said "If that is in no way what I had in mind as to how this piece should be played, it is perhaps even better. Please go on..."

Greatly improved sound quality.......2001-10-20

These are revered works and Kempff's renditions have attracted equally reverential reviews by informed critics - for mine, this set is one of the best available. Having earlier acquired the entire 32 sonata edition, I purchased this hoping for improved sound quality from the new transfer - I was not disappointed. The sound is spectacularly improved. If you are thinking of buying these performances again for the same reason, then don't hesitate. Deutsche Grammophon have actually remastered the entire 32, and that set is available under 'Complete Beethoven Edition'. Also, aside from formal works on music theory, there is an interesting discussion of Beethoven's late sonatas in 'Doctor Faustus', by Thomas Mann.

Get the Solomon instead........2000-11-15

Normally I only write reviews for CDs that I think very highly of, but I can't resist panning Kempff's CD-set of the late Beethoven piano sonatas: the performances are lack-luster, and the performance of the "Hammerklavier" is atrocious. But mainly I am writing because I strongly object to Kempff's patronizing comments in the liner notes about Beethoven's metronome marking for the first movement of the Hammerklavier sonata:

"The erroneous metronome marking can easily lead to this regal movement being robbed of its radiant majesty." ... "Beethoven was completely deaf by the time he wrote this work and had lost touch with the world of actual sound."

In the first place, Beethoven deaf could hear thousands of times better than Mr. Kempff with his full faculties. The quality of his aural imagination has never been approached by any other musician. And certainly not by Mr. Kempff. In the second place, Beethoven's metronome marking (cut-time, one-half-note = 138), though very fast, it what Beethoven called for, and there are really no valid grounds for disputing it. Indeed, when the first movement is played way too slowly by performers such as Kempff, the movement has no majesty, and is just plain dull and flat-footed.

I don't suppose it would be fair to say that Mr. Kempff formed his opinion of the tempo of the 1st movement based on the fact that he doesn't have the technique to play it up to tempo. (Hardly anyone does. But I heard a recording by Beveridge Webster years ago that was up-to-tempo, extraordinarily powerful, and completely convincing.)

In astronomer Fred Hoyle's novel "The Black Cloud", the English pianist Ann Halsey plays the Opus 106 for the Black Cloud that is encircling the sun. The cloud, an extremely intelligent, normally intergalatic creature, on hearing the "Hammerklavier", the first music that it has ever experienced, responds: "Very interesting. Please repeat the first part at a speed increased by thirty per cent." Do you hear that, Mr. Kempff?

If you are looking for a fine CD-set of the late Beethoven sonatas, get the Solomon set.

Awe inspiring.......2000-07-17

This is one of my favorite albums. I could listen to it over and over. I wish that LVB could hear Kempff play. I would be surprised if he didn't approve wholeheartedly with the interpretation.

The best piano music in the world.......2000-06-20

It is hard to believe that Beethoven was completely deaf when he wrote what is arguably the best piano music of all time. Kempff is the supreme interpreter of Beethoven's piano sonatas. Even though this music was recorded a long time ago, the sound is quite good. A great pair of CD's at a great price!

Beethoven: The Late Piano Sonatas, Vol. 1

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Beethoven: The Late Piano Sonatas, Vol. 1

Manufacturer: Dorian Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000001Q8R
Release Date: 1993-08-31

Tracks:

Son No.28 in A, Op.101: Etwas Lebhaft Und Mit Der Innigsten Empfindung
Son No.28 in A, Op.101: Lebhaft. Marschmabig
Son No.28 in A, Op.101: Langsam Und Sehnuschtsvoll
Son No.28 in A, Op.101: Geschwind, Doch Nicht Zu Sehr, Und Mit Entschlossenheit
'Hammerklavier', Son No.29 in B flat, Op.106: Allegro
'Hammerklavier', Son No.29 in B flat, Op.106: Scherzo: Assai Vivace
'Hammerklavier', Son No.29 in B flat, Op.106: Adagio Sostenuto-Largo
'Hammerklavier', Son No.29 in B flat, Op.106: Allegro Risoluto

Beethoven - The Late Piano Sonatas - Yves Nat (2 CD Set)

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Beethoven - The Late Piano Sonatas - Yves Nat (2 CD Set)

Manufacturer: Urania
ProductGroup: Music
Binding: Audio CD
ASIN: B000E1ED2G

Product Description

Ludwig van Beethoven (1770-1827). The late Piano Sonatas. Compact Disc no.1. 1-3 Sonata no.26 in e flat major op.81. "Les adieux": 4-5 Sonata no.27 in e minor op.90 6-9 Sonata no.29 in b major op.106 "Hammerklaver". Compact Disc no.2. 1-4 Sonata no.28 in major op.101. 5-7 Somnata no.30 in e major op.109. 8-10 Sonata no.31 in a flat major op.110. 11-12 Sonata no.32 in c minor op.111. Recording: Paris,1954. Yves Nat, piano. Total time: CD 1 - 66:51, CD 2 - 69:38.

Average customer rating:

Comparison between Rosen's and Brendel's
Valuable
a really 'essential classics'
Brittle distant recording, and so so sound quality
A wonderful recording

Beethoven: The Late Piano Sonatas

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000291P
Release Date: 1994-06-14

Tracks:

Sonata No.27 In E Minor, Op.90: I: Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Sonata No.27 In E Minor, Op.90: II: Nicht zu geschwind und sehr singbar vorgetragen
Sonata No.28 In A Major, Op.101: I. Etwas lebhaft, und mit der innigsten Empfindung. Allegretto ma non troppo
Sonata No.28 In A Major, Op.101: II. Lebhaft, marschmassig. Vivace alla Marcia
Sonata No.28 In A Major, Op.101: III. Langsam und sehnsuchtsvoll. Adagio ma non troppo, con affetto
Sonata No.28 In A Major, Op.101: IV. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro
Sonata No.30 In E Major, Op.109: I. Vivace, ma non troppo
Sonata No.30 In E Major, Op.109: II. Prestissimo
Sonata No.30 In E Major, Op.109: III. Andante molto cantabile ed espressivo. Gesangvoll, mit innigster Empfindung
Sonata No. 31 In A-Flat Major, Op.110: I. Moderato cantabile molto espressivo
Sonata No. 31 In A-Flat Major, Op.110: II. Allegro molto
Sonata No. 31 In A-Flat Major, Op.110: III. Adagio ma non troppo - Fuga. Allegro ma non troppo

Tracks:

Sonata No. 29 in B-flat major, Op. 106: I. Allegro
Sonata No. 29 in B-flat major, Op. 106: II. Scherzo. Assai vivace
Sonata No. 29 in B-flat major, Op. 106: III. Adagio sostenuto. Appassionato e con molto sentimento
Sonata No. 32 In C Minor, Op. 111: IV. Largo - Allegro risoluto
Sonata No. 32 In C Minor, Op. 111: I> Maestoso - Allegro con brio ed appasionato
Sonata No. 32 In C Minor, Op. 111: II. Arietta. Adagio molto semplice e cantabile

Customer Reviews:

Comparison between Rosen's and Brendel's.......2007-04-26

Valuable.......2004-07-14

This set is interesting, enlightening and valuable. Rosen's playing is both original and refreshing and there is much to be admired and learned from it, though it is possibly not a recording I would recommend to someone who has not heard these pieces before, nor would I recommend it as the only recording of these pieces to buy.

Rosen's playing has been called 'analytical' and 'dry'. Analytical it may be, but there is nothing wrong with being analytical, and I do not regard it as emtionally dry. I believe his playing is possibly an acquired taste to an extent, and is not the recording I listen to the most, but it is as I said, refreshing.

These sonatas are (perhaps), as Schnabel famously said, "better than can be played", and the music is greater and has more meaning in it than can be conveyed by one single interpretation no matter how good. The other essential sets to own are in my opinion and order of preference, Brendel on Philips; Pollini on DG; Arrau on Philips; and Richard Goode on Nonesuch.

a really 'essential classics'.......2004-03-13

charles rosen wrote a widely acclaimed book on the performance of beethoven sonatas (i think it's called a short companion to beethoven sonatas?) and he demonstrates here why the book is so highly regarded as insightful and definitive.
i play piano and i've listened many recordings of late sonatas.
to me rosen come closest to the heart and intention of beethoven in these late sonatas. he brings a sense of inevitability to everything he does with these six sonatas and poetry is one of the qualities that stands out. two previous reviews here complain of recording sound and piano tone?? i HAVE to disagree. some may prefer beethoven on a mondern steinway (i.e. by brendel) but those of us that are more familiar with pianos know that it is not the case: just listen to horowitz's magic on his aged steinway, i seriously doubt if he can produce the same tones a modern steinway. the sound on this cd is not brittle, it is bright, as it should be. brendel may have a rounder tone, but brendel plays in his unique way so it is useless and pointless to compare the two... in sum this 2cd set is a must get if you are looking for a set of beethoven late sonatas, budget or full price. charles rosen is not lacking in music or technique in this. the recording sound is very natural. there are those that just don't get piano and to those that does, this recording glimmers with poetry and sympathy to beethoven's music

Brittle distant recording, and so so sound quality.......2003-11-13

I clearly don't know as much about recordings of the late sonatas as other people on this website, but after listening to the Brendel's version I have several complaints about the Rosen collection.

What these recordings have going for them is that they're a great bargain, and were exactly what I was looking for in one package. Rosen also has a reputation for being a profound scholar of these pieces of music - just like Brendel and Fischer-Diskau with certain pieces of Schubert - and that only sweetened the deal. But I have several complaints.

First, this is deeply emotional music, and even if it is executed here with a great deal of technical skill, I felt its power much more in Brendel's recording. There was a warmth of tone there that wasn't sentimentality but simply more in line with the content of the music. Rosen's style of playing reminds me of an extraordinarily complicated teletype machine.

Part of this lack of warmth is simply the recording: it isn't very crisp (it is, indeed, a fairly old transfer) and I was also annoyed by the fact that there was such a difference in volume from one part of the recording to another. You would have to turn up the volume to hear some faint parts of a sonata, only to be deafened by another part. This is especially true on headphones, which is how I usually listen to classical music. Now I usually only put this CD on in the car, where these two flaws aren't as noticeable.

None of this, of course, spoils the music: these are beautiful pieces played well, and they are indeed a value. Rosen seems to insist on stripping his playing of any trace of romanticism, though, and he swings too far to the other direction: the playing is completely clean, but scrubbed so hard that he's started taking off the skin.

A wonderful recording.......2003-07-16

There's a good reason that a recording made in the late 60s by someone who has made very few recordings is still available: this is, to me, a level of musicianship not generally heard in any recording.

Tracks:

Son No.30 in E Op. 109: Vivace, Ma Non Troppo, Adagio Espressivo
Son No.30 in E Op. 109: Prestissimo - Andrew Rangell A
Son No.30 in E Op. 109: Andante Con Variazioni: Gesangvoll, Mit Inningster Empfindung
Son No.31 in A Flat, Op. 110: Moderato Cantible - Andrew Rangell A
Son No.31 in A Flat, Op. 110: Allegro Molto
Son No.31 in A Flat, Op. 110: Recitativo: Adagio Ma Non Troppo; Arioso Dolente;Fuga; Allegro, ...
Son No.32 in C, Op. 111: Maestoso; Allegro Con Brio Ed Appassionato
Son No.32 in C, Op. 111: Arietta: Adagio Molto Semplice E Cantabile

Average customer rating:

Beethoven: Late Piano Sonatas

Manufacturer: Nuova Era
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00000K1IT
Release Date: 1999-08-17

Tracks:

Son No.28 in A, Op.101: I. Etwas Lebhaft, Und Mit Der Innigsten Empfindung. Allegretto...
Son No.28 in A, Op.101: II. Lebhaft. Marschmassig. Vivace Alla Marcia
Son No.28 in A, Op.101: III. Langsam Und Sehnsuchtvoll. Adagio, Ma Non Troppo, Con Affetto
Son No.28 in A, Op.101: IV. Geschwinde, Doch Nicht Zu Sehr, Und Mit Entschlossenheit. Allegro
Son No.29 in B flat, Op.106 'Hammerklavier': I. Allegro
Son No.29 in B flat, Op.106 'Hammerklavier': II. Scherzo. Assai Vivace
Son No.29 in B flat, Op.106 'Hammerklavier': III. Adagio Sostenuto. Appassionato E Con Molto...
Son No.29 in B flat, Op.106 'Hammerklavier': IV. Largo - Allegro Risoluto

Tracks:

Son No.30 in E, Op.109: I. Vivace, Ma Non Troppo
Son No.30 in E, Op.109: II. Prestissimo
Son No.30 in E, Op.109: III. Gesangvoll, Mit Innigster Empfindung. Andante Molto Cantabile Ed...
Son No.31 in A flat, Op.110: I. Moderato Cantabile Molto Espressivo
Son No.31 in A flat, Op.110: II. Allegro Molto
Son No.31 in A flat, Op.110: III. Adagio Ma Non Troppo - Fuga. Allegro Ma Non Troppo
Son No.32 in c, Op.111: I. Maestoso. Allegro Con Brio Ed Appassionato
Son No.32 in c, Op.111: II. Arietta. Adagio Molto Semplice E Cantabile

Track Listings:

Track Listings

track listings

Track Listings

Kleptomania [Import]

La Musica de Bach a la Orilla del Mar

Real Live 91 [Live]

Havana Candy [Import]

Average White Band [Import]

Raw Soul [Import]

Notre Dame de Paris (2000 Studio Cast) [Epic] [Cast Recording]

Piano Dreams: Folk Song

No Cities Left [Import]

Music for Solo Violin (2-CD set)

Movin' Up

Piel De Azucar

Mi Novia No Es Fresa

Night Howard Finster Got Saved

Flood

1. Sonata No. 28 In A Major, Op. 101 - 1. Etwas Lebhaft Und Mit Der Innigsten Empfindung (Allegretto M
2. Sonata No. 28 In A Major, Op. 101 - 2. Lebhaft, Marschmaessig (Vivace Alla Marcia)
3. Sonata No. 28 In A Major, Op. 101 - 3. Langsam Un Sehnsuchtvoll (Adagio Ma Non Troppo, Con Affetto)
4. Sonata No. 28 In A Major, Op. 101 - 4. Geschwind, Doch Nicht Zu Sehr Und Mit Entschlossenheit (Alle
5. Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 1. Allegro
6. Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 2. Scherzo (Assai Vivace-Presto-Prestissim
7. Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 3. Adagio Sostenuto-Appassionato E Con Mol
8. Sonata No. 29 In B Flat Major, Op. 106 -Hammerklavier- - 4. Largo-Allegro Risoluto
9. Sonata No. 30 In E Major, Op. 109 - 1. Vivace, Ma Non Troppo-Adagio Espressivo-Tempo 1 - 2. Presti
10. Sonata No. 30 In E Major, Op. 109 - 3. Gesangvoll, Mit Innigster Empfindung (Andante Molto Cantabi
11. Sonata No. 31 In A Flat Major, Op. 110 - 1. Moderato Cantabile Molto Espressivo
12. Sonata No. 31 In A Flat Major, Op. 110 - 2. Allegro Molto
13. Sonata No. 31 In A Flat Major, Op. 110 - 3. Adagio Ma Non Troppo
14. Sonata No. 31 In A Flat Major, Op. 110 - 4. Fuga (Allegro Ma Non Troppo)
15. Sonata No. 32 In C Minor, Op. 111 - 1. Maestoso-Allegro Con Brio E Appassionato
16. Sonata No. 32 In C Minor, Op. 111 - 2. Arietta (Adagio Molto Semplice E Cantabile)