Piano Sonatas Complete

Track Listings

1. Sonate In C Major, Kv 279 (189d) - 1. Allegro

2. Sonate In C Major, Kv 279 (189d) - 2. Andante

3. Sonate In C Major, Kv 279 (189d) - 3. Allegro

4. Sonate In F Major, Kv 280 (189e) - 1. Allegro Assai

5. Sonate In F Major, Kv 280 (189e) - 2. Adagio

6. Sonate In F Major, Kv 280 (189e) - 3. Presto

7. Sonate In B Flat Major, Kv 281 (189f) - 1. Allegro

8. Sonate In B Flat Major, Kv 281 (189f) - 2. Andante Amoroso

9. Sonate In B Flat Major, Kv 281 (189f) - 3. Rondeau. Allegor

10. Sonate In E Flat Major, Kv 282 (189g) - 1. Adagio

11. Sonate In E Flat Major, Kv 282 (189g) - 2. Menuetto I Ii

12. Sonate In E Flat Major, Kv 282 (189g) - 3. Allegro

13. Sonate In G Major, Kv 283 (189h) - 1. Allegro

14. Sonate In G Major, Kv 283 (189h) - 2. Andante

15. Sonate In G Major, Kv 283 (189h) - 3. Presto

16. Sonate In D Major, Kv 284 (205b) -DÜRnitz-Sonate- - 1. Allegro

17. Sonate In D Major, Kv 284 (205b) -DÜRnitz-Sonate- - 2. Rondeau En Polonaise. Andante

18. Sonate In D Major, Kv 284 (205b) -DÜRnitz-Sonate- - 3. Andante

19. Sonate In C Major, Kv 309 (284b) - 1. Allegro Con Spirito

20. Sonate In C Major, Kv 309 (284b) - 2. Andante Un Poco Adagio

See all 55 tracks on this disc

Tracks:

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

Tracks:

Sonata No.5 In C Minor, Op.10 No.1: Allegro molto e con brio
Sonata No.5 In C Minor, Op.10 No.1: Adagio molto
Sonata No.5 In C Minor, Op.10 No.1: Finale: Prestissimo
Sonata No.6 In F Major, Op.10 No.2: Allegro
Sonata No.6 In F Major, Op.10 No.2: Allegretto
Sonata No.6 In F Major, Op.10 No.2: Presto
Sonata No.7 In D Major, Op.10 No.3: Presto
Sonata No.7 In D Major, Op.10 No.3: Largo e mesto
Sonata No.7 In D Major, Op.10 No.3: Menuetto: Allegro
Sonata No.7 In D Major, Op.10 No.3: Rondo: Allegro
Sonata No.22 In F Major, Op.54: In tempo di Menuetto
Sonata No.22 In F Major, Op.54: Allegretto - Piu allegro

Tracks:

Sonata No.4 In E Flat Major, Op7: Allegro molto e con brio
Sonata No.4 In E Flat Major, Op7: Largo con gran espressione
Sonata No.4 In E Flat Major, Op7: Allegro
Sonata No.4 In E Flat Major, Op7: Rondo: Poco allegretto e grazioso
Sonata No.9 In E Major, Op.14 No.1: Allegro
Sonata No.9 In E Major, Op.14 No.1: Allegretto
Sonata No.9 In E Major, Op.14 No.1: Rondo: Allegro comodo
Sonata No.10 In G Major, Op.14 No.2: Allegro
Sonata No.10 In G Major, Op.14 No.2: Andante
Sonata No.10 In G Major, Op.14 No.2: Scherzo: Allegro assai

Tracks:

Sonata No.11 In B Flat Major, Op.22: Allegro con brio
Sonata No.11 In B Flat Major, Op.22: Adagio con molta espressione
Sonata No.11 In B Flat Major, Op.22: Menuetto
Sonata No.11 In B Flat Major, Op.22: Rondo: Allegretto
Sonata No.12 In A Flat Major, Op.26: Andante von variazioni
Sonata No.12 In A Flat Major, Op.26: Scherzo: Allegro molto
Sonata No.12 In A Flat Major, Op.26: Marcia funebre sulla morte d'un Eroe: Maestoso andante
Sonata No.12 In A Flat Major, Op.26: Allegro
Sonata No.13 In E Flat Major, Op.27 No.1: Andante - Allegro
Sonata No.13 In E Flat Major, Op.27 No.1: Allegro molto e vivace
Sonata No.13 In E Flat Major, Op.27 No.1: Adagio con espressione - Allegro vivace

Tracks:

SONATA NO.8 IN C MINOR, OP.13 'PATHETIQUE': Grave - Allegro 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 InC Sharp Minor, Op.27 No.2 'Moonlight': Adagio sostenuto
Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Allegretto
Sonata No.14 InC Sharp Minor, Op.27 No.2 'Moonlight': Presto agitato - Adagio - Presto agitato
SONATA NO.23 IN F MINOR, OP.57 'APPASSIONATA': Allegro assai - Piu allegro
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 - Presto

Tracks:

Sonata No.15 In D Major, Op.28 'Pastoral': Allegro
Sonata No.15 In D Major, Op.28 'Pastoral': Andante
Sonata No.15 In D Major, Op.28 'Pastoral': Scherzo: Allegro vivace
Sonata No.15 In D Major, Op.28 'Pastoral': Rondo: Allegro ma non troppo
Sonata No.21 In C Major, Op.53 'Waldstein': Allegro con brio
Sonata No.21 In C Major, Op.53 'Waldstein': Introduzione (Adagio molto) - Rondo (Allegretto moderato - Prestissimo)
Sonata No.19 In G Minor, Op.49 No.1: Andante
Sonata No.19 In G Minor, Op.49 No.1: Rondo: Allegro
Sonata No.20 In G Major, Op.49 No.2: Allegro ma non troppo
Sonata No.20 In G Major, Op.49 No.2: Tempo di menuetto

Tracks:

Sonata No. 16 In G Major, Op. 31 No. 1: Allegro vivace
Sonata No. 16 In G Major, Op. 31 No. 1: Adagio grazioso
Sonata No. 16 In G Major, Op. 31 No. 1: Rondo: Allegretto - Adagio - Presto
Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Largo - Allegro
Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Adagio
Sonata No. 17 In D Minor, Op. 31 No. 2 'The Tempest': Allegretto
Sonata No.18 In E Flat Major, Op.31 No.3: Allegro
Sonata No.18 In E Flat Major, Op.31 No.3: Scherzo: Allegretto vivace
Sonata No.18 In E Flat Major, Op.31 No.3: Menuetto: Moderato grazioso
Sonata No.18 In E Flat Major, Op.31 No.3: Presto con fuoco

Tracks:

Sonata No.24 In F Sharp Major, Op.78: Adagio cantabile - Allegro ma non troppo
Sonata No.24 In F Sharp Major, Op.78: Allegro vivace
Sonata No.25 in G major, Op.79: Presto alla tedesca
Sonata No.25 in G major, Op.79: Andante
Sonata No.25 in G major, Op.79: Vivace
Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Das Lebewohl (Les Adieux): Adagio - Allegro
Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Abwesenheit (L'Absence): Andante espressivo
Sonata No.26 In E Flat Major, Op.81a 'Les Adieux': Wiedersehn (Le Retour): Vivacissimamente - Poco andante - Tempo 1
Sonata No.27 In E Minor, Op.90: Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Sonata No.27 In E Minor, Op.90: Nicht zu geschwind und sehr singbar vorzutragen

Tracks:

Sonata No.28 In A Major, Op.101: Allegretto ma non troppo
Sonata No.28 In A Major, Op.101: Vivace alla Marcia
Sonata No.28 In A Major, Op.101: Adagio, ma non troppo, con affetto - Tempo del primo pezzo - Allegro
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Allegro
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Scherzo: Assai vivace - Presto - Tempo 1
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Adagio sostenuto
Sonata No.29 In B Flat Major, Op.106 'Hammerklavier': Largo - Allegro - Prestissimo - Allegro risoluto (Fuga a tre voci, con alcune licenze)

Tracks:

Sonata No.30 In E Major, Op.109: Vivace, ma non troppo - Adagio espressivo - Tempo 1
Sonata No.30 In E Major, Op.109: Prestissimo
Sonata No.30 In E Major, Op.109: Tema: Andante molto cantabile e espressivo - Variazioni 1-6
Sonata No.31 In A Flat Major, Op.110: Moderato cantabile, molto espressivo
Sonata No.31 In A Flat Major, Op.110: Allegro molto
Sonata No.31 In A Flat Major, Op.110: Adagio ma non troppo
Sonata No.31 In A Flat Major, Op.110: Fuga: Allegro ma non troppo - L'istesso tempo di arioso - L'istesso tempo della Fuga - Meno allegro
Sonata No.32 in C minor, op.111: Maestoso - Allegro con brio ed appassionato
Sonata No.32 in C minor, op.111: Arietta: Adagio molto semplice e cantabile - Variazioni

Customer Reviews:

Barenboim's Beethvoen.......2007-06-27

I heard Bachaus play all Beethoven recitals at Carnegie Hall, in NYC. At that time he was the acknowledged master of the Beethvoen Sonata. With Barenboim, the old order changeth, yielding place to new. These recordings have fire, tempestuousness and passion, all emotions that belong in Beethoven.

One of the very best ever.......2007-02-15

This set has to be experienced. The clarity of these performances is beyond belief. If it's not the best set of Beethoven Sonatas, it is certainly among the very best. Take for example the first movement of Sonata number 21. It is so easy to have a performer play all the notes just as Beethoven wrote them and yet leave the listener in a morass of confusion without the slightest idea of what he had in mind. Not here. The ideas pour forth in a white light that has to be experienced. It really has to be experienced!! I love these performances. I will play them until I die. Oh...and the recordings are technically excellent. At least when played through Levinson electronics and Maggies....superb!

dead in the water.......2007-01-12

Sorry, I just don't like Barenboim's renditions. Beethoven is my favourite composer, depending on my mood that is, and nothing moves me as his music can. But I just don't get Barenboim's renditions... doesn't do a thing for me. Something of Beethoven's depth and richness gets totally "lost in translation".

Better off finding a better performance of these if you really want to be "blown away". My favorite "Beethoven" conductor would have to be Herbert von Karajan; and as for individual pianists my all time favorite is Maurizio Pollini, whose performances are exquisite, in both technique and expression! If you are a music lover you should really check his work out if you haven't already. My favorite Beethoven CD by him is "Die Spaten Klaviersonaten" (Beethoven) by Deutsche Grammophon in their "legendary recordings" series. It is a real gem! (the sound quality is excellent also)

Sublime expression nourished by a colossal vision!.......2006-03-23

Thanks to this immense and untiring activity in the field of the orchestral direction, his vision as pianist has enriched himself quite a lot: Barenboim performs these well known Sonatas with a splendid architectural construction; according Schnabel `s tradition.

And that is a very remarkable good point in this musical moment where the pianist technique is eclipsing and even annulling the personal approach in the most of pianists all over the world. Honesty, conviction, vision and commitment dress those interpretations loaded of expression and personality.

In the great tradition of the great Beethovenian keyboard giants of the past, Daniel explores and plays every little bar with that well felt intensity of someone who in Beethoven `s there is much more than simple music. In Beethoven the music is not a goal by itself; but a revelation superior to any philosophy; all his musical legacy possess values that are placed of the standards. There is not art without second intention and that is precisely what Barenboim has made with this fabulous cycle of Beethoven Sonatas.

If you really want to listen remarkable performances far beyond of the trivial conventionalisms, go for this record.

Performed with great enthusiasm.......2004-05-16

This is classic early Barenboim (he was just 24 when he started recording this set in 1966). He is very enthusiastic and expressive (if you don't like him, he "takes liberties" and "shows off"). The slow movements are veerrry slow, and the fast ones really rip. Pianissimo is extremely soft, and fortissimo rattles the windows! [My wife insists that I wear headphones for late-night listening.]

Tracks:

I: Allegro
II: Andante
III: Allegro
I: Allegro Assai
II: Adagio
III: Presto
I: Allegro Moderato
II: Andante Amoroso
III: Rondeau: Allegro
I: Adagio
II: Menuetto I - Menuetto II
III: Allegro
I: Allegro
II: Andante
III: Presto

Tracks:

I: Allegro
II: Rondeau En Polonaise: Andante
III: Tema (Andante) Con Variazioni (I-XII)
I: Allegro Con Spirito
II: Andante Un Poco Adagio
III: Rondeau: Allegretto Grazioso
I: Allegro Maestoso
II: Andante Cantabile Con Espressione
III: Presto

Tracks:

I: Allegro Con Spirito
II: Andantino Con Espressione
III: Rondeau: Allegro
I: Allegro Moderato
II: Andante Cantabile
III: Allegretto
I: Tema (Andante Grazioso) Con Variazioni (I-VI)
II: Menuetto - Trio
III: Alla Turca: Allegretto
I: Allegro
II: Adagio
III: Allegro Assai

Tracks:

I: Allegro
II: Andante Cantabile
III: Allegretto Grazioso
Adagio - Allegro - Andantino - Piu Allegro - Tempo I
I: Molto Allegro
II: Adagio
III: Allegro Assai

Tracks:

I: Allegro
II: Andante Cantabile
III: Allegretto
I: Allegro
II: Andante
III: Rondo
I: Allegro
II: Adagio
III: Allegretto
I: Allegro
II: Adagio
III: Allegretto

Tracks:

Tema ('Laat Ons Juichen'): Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7: Adagio
Variation 8: Tempo I
Tema (Air): Allegro
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5: Adagio
Variation 6: Tempo I
Variation 7
Tema (Menuetto): Andante
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5: Adagio
Variation 6: Allegretto
Tema (Menuet)
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Allegro
Tema (Air): Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8: Tempo Di Menuetto
Variation 9
Variation 10: Allegretto
Variation 11
Variation 12: Molto Adagio
Allegretto

Tracks:

Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Allegro
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Presto
Tema: Andante
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8: Adagio
Variation 9: Allegro
Tempo Di Tema
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7: Adagio
Variation 8: Allegro
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6

Tracks:

Tema: Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9: Adagio
Variation 10: Allegro
(Tempo I)
Tema: Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8
Variation 9
Variation 10
Variation 11: Adagio
Variation 12: Allegro
(Tempo I)
Tema: Allegretto
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7
Variation 8: Adagio
Variation 9: Allegro
(Tempo I)
Tema
Variation 1
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7: Adagio
Variation 8: Allegro
(Tempo I)

Customer Reviews:

like sparkling mineral water.......2006-12-22

It is something near to a cleansing experience to listen through the Mozart piano repertoire as performed by Daniel Barenboim.

For starters, Mozart achieves his sparest, cleanest, most limpid lines when writing for solo piano. Then comes Daniel Barenboim, whose reading of Mozart is crisply and unemotionally classical. Not for him the drawn-out keyboard soliloquy. On the contrary, Barenboim gives us Mozart, only Mozart, and nothing but Mozart, clean and shimmering as sparkling mineral water.

This is not to say that Barenboim as pianist is unfeeling. On the contrary, the Fantasia in C Minor - to choose just one example with almost random lack of care - is quite moving. But not with a flourish. Rather, with almost sinewy restraint. The presentation represents a fine grasp of the master composer, nurtured with discipline across the length and breadth of the voluminous sonatas.

Indeed, the sheer volume of the Mozart piano sonatas is intimidating. It is astonishing to imagine one man having mastered it as Barenboim has. EMI Classics has done us the favor of collecting these two gentlemen's asynchronic collaboration in one set, affordable at that.

If Mozart is a musician for the ages and Barenboim a performer who left a formidable imprint on the twentieth century, their collaboration as represented in these recordings is a watershed that will need to be referenced by students of classical piano for at least another hundred years, or until people can only remember as far back as the Dixie Chicks.

Buy Barenboim on Mozart before that happens, and so stick your thumb in the dike against the evil day.

Soulless Rendition.......2005-10-16

I have several artists' renditions of Mozart's piano sonatas in my library. Daniel Barenboim's is the worst. His technique is timid. His rendition is soulless and perfunctory. I regret purchasing this collection. The best rendition I have is the collection of Glenn Gould. If you like Mozart's piano sonatas played the way Mozart intended, give Barenboim a pass and listen to Gould.

Lovely.......2005-03-17

As a pianist myself, I love Barenboim's playing. He does not play Mozart too Beethoven like. His performances are usually VERY good, and this is one example. Also includes the complete variations, which are very nice. The sound quality is excellent. Very highly recommended.

"The sonatas of Mozart are unique: too easy for children, too difficult for adults. Children are given Mozart to play because of the quantity of notes; grown ups avoid him because of the quality of notes." - Artur Schnabel

Top notch performances.......2004-06-17

Daniel Barenboim played this whole set with an interesting approach to WAM . The notations about classical , beethovenian style are always hazardous.
When you are a musician you must avoid in the cliche , and you should feel the music as a whole and the playing must be the consequence of a overlong process that begins in your soul , then your inner mood , your intellect and finally your fingers. I remark the aspect when you are in front of Mozart, Beethoven Wagner, Bruckner, Bach , Schubert and Bartok , because these composers are in a highest level than the others and the music itself is merely a device for expressing deeper issues.
That's why this set is superb. Barenboim plays a Mozart rich in expresiveness , he gives to Mozart presence .
Barenboim plays music as Vegh or Furtwangler did it , always seeking the landscape far beyond the score . That's why they are so original in their performances . The rapture is not a device for exhibite his skills , it''s the final product of a long process.
Acquire this set. It's an unvaluable treasure.

Very good, but a bit misleading?.......2004-05-15

Barenboim playing Mozart has his critics, who say he's "too Beethovian" when performing Mozart's piano sonatas and piano concertos. I disagree; I love his style. Others might not.

Tracks:

Sonata No. 1, Op. 2 In F Minor: 1. Allegro - Beethoven
Sonata No. 1, Op. 2 In F Minor: 2. Adagio - Beethoven
Sonata No. 1, Op. 2 In F Minor: 3. Menuetto. Allegretto - Beethoven
Sonata No. 1, Op. 2 In F Minor: 4. Prestissimo - Beethoven
Sonata No. 2, Op. 2 In A Major: 1. Allegro vivace - Beethoven
Sonata No. 2, Op. 2 In A Major: 2. Largo appassionato - Beethoven
Sonata No. 2, Op. 2 In A Major: 3. Scherzo. Allegretto - Beethoven
Sonata No. 2, Op. 2 In A Major: 4. Rondo. Grazioso - Beethoven
Sonata No. 3, Op. 2 In C Major: 1. Allegro con brio - Beethoven
Sonata No. 3, Op. 2 In C Major: 2. Adagio - Beethoven
Sonata No. 3, Op. 2 In C Major: 3. Scherzo. Allegro - Beethoven
Sonata No. 3, Op. 2 In C Major: 4. Allegro assai - Beethoven

Tracks:

Sonata No. 5, Op. 10 In C Minor: 1. Allegro molto e con brio - Beethoven
Sonata No. 5, Op. 10 In C Minor: 2. Adagio molto - Beethoven
Sonata No. 5, Op. 10 In C Minor: 3. Finale. Prestissimo - Beethoven
Sonata No. 6, Op. 10 In F Major: 1. Allegro - Beethoven
Sonata No. 6, Op. 10 In F Major: 2. Allegretto - Beethoven
Sonata No. 6, Op. 10 In F Major: 3. Presto - Beethoven
Sonata No. 7, Op. 10 In D Major: 1. Presto - Beethoven
Sonata No. 7, Op. 10 In D Major: 2. Largo e mesto - Beethoven
Sonata No. 7, Op. 10 In D Major: 3. Menuetto. Allegro - Beethoven
Sonata No. 7, Op. 10 In D Major: 4. Rondo. Allegro - Beethoven

Tracks:

Sonata No. 4, Op. 7 In E Flat Major: 1. Allegro molto e con brio
Sonata No. 4, Op. 7 In E Flat Major: 2. Largo, con gran espressione
Sonata No. 4, Op. 7 In E Flat Major: 3. Allegro
Sonata No. 4, Op. 7 In E Flat Major: 4. Rondo. Poco allegretto e grazioso
Sonata No. 8, Op. 13 'Pathetique' In C Minor: 1. Grave - Allegro di molto e con brio
Sonata No. 8, Op. 13 'Pathetique' In C Minor: 2. Adagio cantabile
Sonata No. 8, Op. 13 'Pathetique' In C Minor: 3. Rondo. Allegro
Sonata No. 9, Op. 14 In E Major: 1. Allegro
Sonata No. 9, Op. 14 In E Major: 2. Allegretto
Sonata No. 9, Op. 14 In E Major: 3. Rondo. Allegro comodo
Sonata No. 10, Op. 14 In G Major: 1. Allegro
Sonata No. 10, Op. 14 In G Major: 2. Andante
Sonata No. 10, Op. 14 In G Major: 3. Scherzo. Allegro assai

Tracks:

Sonata No. 11, Op. 22 In B Flat Major: 1. Allegro con brio
Sonata No. 11, Op. 22 In B Flat Major: 2. Adagio con molta espressione
Sonata No. 11, Op. 22 In B Flat Major: 3. Menuetto
Sonata No. 11, Op. 22 In B Flat Major: 4. Rondo. Allegretto
Sonata No. 12, Op. 26 In A Flat Major: 1. Andante con Variazioni
Sonata No. 12, Op. 26 In A Flat Major: 2. Scherzo. Allegro molto
Sonata No. 12, Op. 26 In A Flat Major: 3. Marcia funebre sulla morte d'un Eroe
Sonata No. 12, Op. 26 In A Flat Major: 4. Allegro
Sonata No. 13, Op. 27 In E Flat Major: 1. Andante - Allegro - Tempo I - attaca:
Sonata No. 13, Op. 27 In E Flat Major: 2. Allegro molto e vivace - attaca:
Sonata No. 13, Op. 27 In E Flat Major: 3. Adagio con espressione - attaca:
Sonata No. 13, Op. 27 In E Flat Major: 4. Allegro vivace
Sonata No. 14, Op. 27 'Mondschein-Sonate' In C Sharp Minor: 1. Adagio sostenuto - attaca:
Sonata No. 14, Op. 27 'Mondschein-Sonate' In C Sharp Minor: 2. Allegretto - attaca:
Sonata No. 14, Op. 27 'Mondschein-Sonate' In C Sharp Minor: 3. Presto agitato

Tracks:

Sonata No. 16, Op. 31 In G Major: 1. Allegro vivace - L.V. Beethoven
Sonata No. 16, Op. 31 In G Major: 2. Adagio grazioso - L.V. Beethoven
Sonata No. 16, Op. 31 In G Major: 3. Rondo. Allegretto - L.V. Beethoven
Sonata No. 17, Op. 31 'Sturm-Sonate' In D Minor: 1. Largo - Allegro - L.V. Beethoven
Sonata No. 17, Op. 31 'Sturm-Sonate' In D Minor: 2. Adagio - L.V. Beethoven
Sonata No. 17, Op. 31 'Sturm-Sonate' In D Minor: 3. Allegretto - L.V. Beethoven
Sonata No. 18, Op. 31 In E Flat Major: 1. Allegro - L.V. Beethoven
Sonata No. 18, Op. 31 In E Flat Major: 2. Scherzo. Allegretto vivace - L.V. Beethoven
Sonata No. 18, Op. 31 In E Flat Major: 3. Menuetto. Moderato e grazioso - L.V. Beethoven
Sonata No. 18, Op. 31 In E Flat Major: 4. Presto con fuoco - L.V. Beethoven

Tracks:

Sonata No.15, Op. 28 'Pastorale' In D Major: 1. Allegro
Sonata No.15, Op. 28 'Pastorale' In D Major: 2. Andante
Sonata No.15, Op. 28 'Pastorale' In D Major: 3. Scherzo. Allegro vivace
Sonata No.15, Op. 28 'Pastorale' In D Major: 4. Rondo. Allegro, ma non troppo
Sonata No. 19, Op. 49 In G Minor: 1. Andante
Sonata No. 19, Op. 49 In G Minor: 2. Rondo. Allegro
Sonata No. 20, Op. 49 In G Major: 1. Allegro, ma non troppo
Sonata No. 20, Op. 49 In G Major: 2. Tempo di Menuetto
Sonata No.21, Op. 53 'Waldstein-Sonate' In C Major: 1. Allegro con brio
Sonata No.21, Op. 53 'Waldstein-Sonate' In C Major: 2. Introduzione. Adagio molto - attaca:
Sonata No.21, Op. 53 'Waldstein-Sonate' In C Major: 3. Rondo. Allegretto moderato
Sonata No. 23, Op. 57 'Apassionata' In F Minor: 1. In tempo d'un Menuetto
Sonata No. 23, Op. 57 'Apassionata' In F Minor: 2. Allegretto

Tracks:

Sonata No. 23, Op. 57 'Appasionata' In F Minor: 1. Allegro assai
Sonata No. 23, Op. 57 'Appasionata' In F Minor: 2. Andante con moto - attaca:
Sonata No. 23, Op. 57 'Appasionata' In F Minor: 3. Allegro, ma non troppo - Presto
Sonata No. 24, Op. 78 In F Sharp Major: 1. Adagio cantabile - Allegro, ma non troppo
Sonata No. 24, Op. 78 In F Sharp Major: 2. Allegro vivace
Sonata No. 25, Op. 79 In G Major: 1. Presto alla tedesca
Sonata No. 25, Op. 79 In G Major: 2. Andante
Sonata No. 25, Op. 79 In G Major: 3. Vivace
Sonata No. 26, Op. 81a 'Les Adieux' In E Flat Major: 1. Das Lebewohl (Les Adieux): Adagio - Allegro
Sonata No. 26, Op. 81a 'Les Adieux' In E Flat Major: 2. Abwesenheit (L'Absence): Andante espressivo
Sonata No. 26, Op. 81a 'Les Adieux' In E Flat Major: 3. Das Wiedersehn (Le Retour): Vivacissimamente
Sonata No. 27, Op. 90 In E Minor: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Sonata No. 27, Op. 90 In E Minor: 2. Nicht zu geschwind und sehr singbar vorzutragen

Tracks:

Sonata No. 28, Op. 101 In A Major: 1. Etwas lebhaft und mit der innigsten Empfindung: Allegretto, ma non troppo
Sonata No. 28, Op. 101 In A Major: 2. Lebhaft, marschmassig: Vivace alla Marcia
Sonata No. 28, Op. 101 In A Major: 3. Langsam und sehnsuchtsvoll: Adagio, ma non troppo, con affetto - attaca:
Sonata No. 28, Op. 101 In A Major: 4. Geschwinde, doch nicht zu sehr und mit Entschlossenheit: Allegro
Sonata No. 29, Op. 106 In B Flat Major: 1. Allegro
Sonata No. 29, Op. 106 In B Flat Major: 2. Scherzo. Assai vivace
Sonata No. 29, Op. 106 In B Flat Major: 3. Adagio sostenuto. Appasionato e con molto sentimento
Sonata No. 29, Op. 106 In B Flat Major: 4. Largo - Allegro risoluto

Tracks:

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

Amazon.com

Wilhelm Kempff was the premier German pianist of the postwar period, so it's no surprise that he was considered one of the supreme interpreters of Beethoven. He recorded complete sets of the sonatas and concertos twice, and just about all the rest of the chamber music with piano as well. Kempff was a classicist by nature, and his approach to Beethoven was clear and poised rather than impulsive, but it was never lacking in sheer power or virtuosity when necessary. His last cycle of Beethoven sonatas is rightly regarded as his musical testament. Even if the mono recordings offered a few more exciting moments in a couple of works, you can't go wrong here--there isn't a dud in the lot. --David Hurwitz

Customer Reviews:

The final testament of a great classicist.......2005-11-10

I waited a long time before finally buying this. I already had Gilels, Barenboim, Schnabel, Richter(for almost all),Annie fischer(a damn fine set also!) Brendel, and Arrau. I have always held gilels monumental set in the highest regard for its mixture of respect and power, beauty and ferocity. I knew that the Kempff box had ggod things, but after all these former sets, what knew could be said(similar to what i thought about michelangeli before i heard his op 2\3 and debussy preludes) But this set kept popping up in my life. Over and over respectable musicians kept hinting that this was the set to go for, a modern answer to schnabel's initial recording. Finally I bought it and my only regret is that i didnt succumb to it sooner. Kempff is, in my mind, not the most exciting of pianist's, but he everything that our modern school is not, in the best sense of the word. His sound and touch is crystalline, his authority over the notes unequalled. There isnt any of these sonata's i dont turn to when i want to investigate them for myself with score at hand, which in a word, can be described as revelatory. Dont hesitate like I did. Who knows maybe, in this age of classical deprecation, it may disappear before you had the chance. It is the end all of Beethoven interpretation. It lacks the machismo of Gilels, and Richter for that matter, but what it lacks in the thunder it makes up for in the calm of the storm.

Wilhelm Kempff Plays the Beethoven Piano Sonatas.......2005-08-17

Beethoven's "Tagebuch" includes the following famous entry: "The starry heavens above, the moral law within -- Kant!" Beethoven was alluding to Kant's statement in the "Critique of Practical Reason" of the two things that filled him with awe. But, in a simple way, Beethoven's statement could be read to show two related ways of understanding his music: the first as heroic, heaven-storming, and outwardly directed, and the second as inward, reflective, and meditative. Some of Beethoven's music can be seen as occupying on or the other end of the polarity. Much of the music somehow occupies both ends.

The same holds true as a rough approach to the performance of Beethoven's music -- including the 32 piano sonatas. Some artists emphasize the dramatic, rugged and virtuosic characteristics of the sonatas while others focus upon the music's inward and introspective qualities. The great German pianist Wilhelm Kempff's classic recording of the complete piano sonatas is clearly within the latter approach. Kempff (1895 -- 1991) recorded the complete Beethoven sonata-cycle twice, the first time in the 1950s and the second time in the 1960s. I had the original version on LP and purchased the CD set when LPs became obsolete. I recently had the opportunity to relisten to Kempff's renditions of the sonatas in their entirety.

Kempff's readings of the sonatas are highly personal and introspective. His tempos tend to be slow and fluid, the pedal is used a great deal, phrasing is highly legato, and volume is, for the most part, subdued and restrained. He offers a metaphysical, thoughtful reading of Beethoven which probes within. It is a moving and convincing way of rendering the sonatas, and I came away from my experience with the set over the past several days with a renewed devotion to this music. I have attempted about half of the sonatas myself over the years on the piano.

Beethoven's sonatas date from his youthful years in Bonn before his 1792 move to Vienna (the two sonatas of opus 49) to about 1822 (opus 111), five years before the composer's death. Thus, they occupied Beethoven for almost the entirety of his creative life. In listening to this complete set, the listener can follow Beethoven's development essentially chronologically and learn more first-hand about the sonatas and about the changes in Beethoven's styles of composition than can be gained from reading many studies.

Listeners interested in a complete set of the Beethoven sonatas will probably have some familiarity with some of the better-known
named sonatas, such as the "Pathetique", opus 13, the "Moonlight" opus 27 no. 2, the "Waldstein", opus 53, or the "Appassionata", opus 57. After falling in love with some of these works, it will be time for the listener to explore the entire series.

Kempff brings his own personal and introspective readings to each of these familar works. I think he does best with the rondo finale of the "Waldstein," with the "Moonlight" sonata, and with the two final movements of the "Tempest", opus 31 no. 2. His readings of these familiar works on the whole will offer fresh insight into these great sonatas.

But the greatest attraction of this set is the opportunity it provides to explore some of Beethoven's less frequently performed works. Again, Kempff is at his best in works of an introspective character. Thus, those coming to the sonata-cycle for the first time will enjoy his performances of the opus 26 sonata, with the opening variations and the celebrated funeral march, of opus 78, 79, and 81a ("Les Adieux"), of opus 90, and of opus 101, 109, 110, and the great end to the series, opus 111. Opus 90, 101, and 109 are particular favorites of mine, and Kempff plays them beautifully.

There is yet another group of sonatas that also receive excellent readings on the set. This group includes two excellent ambitious early works, opus 2 no. 3 and opus 7 (another favorite), the three sonatas of opus 10, the under-appreciated opus 22, the companion to the more famous "Moonlight" sonata, opus 27 no. 1, opus 31 no. 3 and the enigmatic opus 54, sandwiched between the "Waldstein" and the "Appassionata". The magisterial and heroic "Hammerklavier" sonata, opus 106, is in a class by itself. Each listeners's choices and fovorites among the 32 will vary and change with time and repeated hearings. This collection is an excellent introduction to all of them.

There are many recordings of the set of 32 sonatas and many approaches to the interpretation of Beethoven. His music is broader and deeper than any single reading. I have lived with my set of Kempff for a long time and am still moved and inspired by his playing of this inexhaustible music. Listeners wanting to get to know this great body of work will find much to cherish in these performances by Wilhelm Kempff.

Robin Friedman

full of artistry, very nice........2005-06-06

Among the great pianists who played Beethoven's sonatas, I love Kempff and Gilels most. Kempff's play is colorful(also with cleaness), while Gilels's play is clean. Of course,if you only prefer highly keyboard technique, Pollini is a better choice.

I think, Kempff was born not only as a great pianist, but also as a musical artist. listen to Kempff just like listen to a small orchestra(among instruments, only piano can do this). His left hand accompanied very well and his right hand song nicely. Some one may say Kempff lacks energetics, but I prefer his style---just like a stream flows naturally, accompanied with birds and flowers.

unlike some energetically played pianists, I never get tired in listening to Kempff. Though those CDs was recorded in 60s, the sonic quality is good enough. highly recommended.

Which One To Get, That Is The Question.......2005-02-10

For those who are not too familiar with Kempff, he is generally regarded as one of the most reputed Beethoven interpreter after Schnabel. Gulda was supposed to succeed them and was somehow stopped short. In Kempff, just like most pianists of the older generation, there is a strong element of improvisation, an element in the making of music which make him sound so fresh and spontaneous which left even Brendel way behind. Furthermore, his playing is so inspired that it never fails to remind us of some transcending church music.

Having said that, Kempff even in the 50s, was never quite as dynamic as Gulda; whereas some may instead find Schnabel's Beethoven even more instructive and not at all less inspired. But Schnabel's are all historic recordings. My no.1 choice for these sonatas is always Backhaus (Decca, in wonderful stereo sound), for some may find Arrau's early Beethoven sonatas boring and Gilel's (which is not exactly a whole cycle in any event) not soulful enough, however much conviction he had for them. And to be honest, I have never finished Brendel's and I have never even tried Ashkenazy's Beethoven except his piano trio with Perlman and Harell and somehow I just stopped there...

Roughly speaking, Kempff's 50s cycle is more energetic, fiery and forceful, wheras his 60s is more colourful, more sublime, and with more subtleties. But that doesn't mean he was off his peak or insufficiently fiery (unlike Schnabel whose first cycle is more preferable than his second cycle recorded in the 50s). Being a complete musician as well as a remarkable composer, there was still some obvious development in his music making even between these two cycles which makes him fairly and squarely an authoritative alternative even to Backhaus: another reason that we should try to listen to both.

And as far as the recorded sound is concerned, there is the difference of more than one whole generation, so that the ordinary music lovers may not find the 50s recording delightful or acceptable at all; whereas few could really complain against the sound of the 60s.

So, if you are a pianist, or if you are a fan of Kempff, you probably will get both his 50s and 60s recordings: for like most great pianists or indeed most great musicians, every time they play, it is going to be different and they are all instructive and inspiring in their own way. I myself grapped both. But if your emphasis is on the early sonatas or just for general enjoyment or even for the last sonatas, it is better to get the 60s.

essential.......2004-06-02

what else can you say about kempff that isn't said before? this is the best beethoven ever record, he has a magic touch and this sets clearly shows it off. i have both recordings of his beethoven sonatas (1951 & 1964) as well as his schumann, brahms, schubert, bach, mozart, liszt etc and would recomand them all... enjoy the piano master

Beethoven: The Complete Piano Sonatas & Concertos

Average customer rating:

The one collection I cannot imagine being without
MASTERY
Magisterial... mystical
Beethoven + Arrau = Divinity
Beethoven himself would be proud.

Beethoven: The Complete Piano Sonatas & Concertos
Claudio Arrau , Janos Starker , Ludwig van Beethoven , Bernard Haitink , Eliahu Inbal , Concertgebouw Orchestra Amsterdam , New Philharmonia Orchestra , and Henryk Szeryng
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Liszt: Piano Works
Schubert: The Piano Sonatas
Chopin: The Piano Works
Brahms: Works for Solo Piano
Bach: Well-Tempered Clavier

ASIN: B00000C2F7
Release Date: 1999-11-09

Tracks:

Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 1 Allegro
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 2. Adagio
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 3. Menuetto. Allegretto
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 4. Prestissimo
Piano Sonata No. 2 In A, Op. 2 No. 2: 1. Allegro vivace
Piano Sonata No. 2 In A, Op. 2 No. 2: 2. Largo appassionato
Piano Sonata No. 2 In A, Op. 2 No. 2: 3. Scherzo. Allegretto
Piano Sonata No. 2 In A, Op. 2 No. 2: 4. Rondo. Grazioso
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 1. Allegro molto e con brio
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 2. Adagio molto
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 3. Finale. Prestissimo
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 1. Andante
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 2. Rondo. Allegro

Tracks:

Piano Sonata No.3 In C, Op.2 No.3: 1. Allegro con brio
Piano Sonata No.3 In C, Op.2 No.3: 2. Adagio
Piano Sonata No.3 In C, Op.2 No.3: 3. Scherzo. Allegro
Piano Sonata No.3 In C, Op.2 No.3: 4. Allegro assai
Piano Sonata No.4 In E Flat, Op.7: 1. Allegro molto e con brio
Piano Sonata No.4 In E Flat, Op.7: 2. Largo, con gran espressione
Piano Sonata No.4 In E Flat, Op.7: 3. Allegro
Piano Sonata No.4 In E Flat, Op.7: 4. Rondo. Poco allegretto e grazioso
6 Piano Veriations In F On An Original Theme, Op.34

Tracks:

Piano Sonata No.6 In F, Op.10 No.2: 1. Allegro
Piano Sonata No.6 In F, Op.10 No.2: 2. Allegretto
Piano Sonata No.6 In F, Op.10 No.2: 3. Presto
Piano Sonata No.7 In D, Op.10 No.3: 1. Presto
Piano Sonata No.7 In D, Op.10 No.3: 2. Largo e mesto
Piano Sonata No.7 In D, Op.10 No.3: 3. Menuetto. Allegro
Piano Sonata No.7 In D, Op.10 No.3: 4. Rondo. Allegro
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 1. Grave - Allegro di molto e con brio
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 2. Adagio cantabile
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 3. Rondo. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 1. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 2. Allegretto
Piano Sonata No.9 In E, Op.14 No.2: 3. Rondo. Allegro comodo

Tracks:

Piano Sonata No.10 In G, Op.14 No.2: 1. Allegro
Piano Sonata No.10 In G, Op.14 No.2: 2. Andante
Piano Sonata No.10 In G, Op.14 No.2: 3. Scherzo. Allegro assai
Piano Sonata No.11 In B Falt, Op.22: 1. Allegro con brio
Piano Sonata No.11 In B Falt, Op.22: 2. Adagio con molta espressione
Piano Sonata No.11 In B Falt, Op.22: 3. Minuetto
Piano Sonata No.11 In B Falt, Op.22: 4. Rondo. Allegretto
Piano Sonata No.12 In A Flat, Op.26: 1. Andante con Variazioni
Piano Sonata No.12 In A Flat, Op.26: 2. Scherzo. Allegro molto
Piano Sonata No.12 In A Flat, Op.26: 3. Marcia Funebre sulla morte d'un Eroe
Piano Sonata No.12 In A Flat, Op.26: 4. Allegro
Piano Sonata No.25 In G, Op.79: 1. Presto alla tedesca
Piano Sonata No.25 In G, Op.79: 2. Andante
Piano Sonata No.25 In G, Op.79: 3. Vivace

Tracks:

Piano Sonata No.13 In E Flat, Op.27 No.1: 1. Andante - Allegro - Tempo I
Piano Sonata No.13 In E Flat, Op.27 No.1: 2. Allegro molto e vivace
Piano Sonata No.13 In E Flat, Op.27 No.1: 3. Adagio con espressione
Piano Sonata No.13 In E Flat, Op.27 No.1: 4. Allegro vivace - Tempo I - Presto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 1. Adagio sostenuto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 2. Allegrettro
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 3. Presto agitato
Piano Sonata No.15 In D, Op.28 'Pastorale': 1. Allegro
Piano Sonata No.15 In D, Op.28 'Pastorale': 2. Andante
Piano Sonata No.15 In D, Op.28 'Pastorale': 3. Scherzo. Allegro vivace
Piano Sonata No.15 In D, Op.28 'Pastorale': 4. Rondo. Allegro ma non troppo
Piano Sonata No. 22 In F, Op.54: 1. In Tempo d'un Menuetto
Piano Sonata No. 22 In F, Op.54: 2. Allegretto

Tracks:

Piano Sonata No.16 In G, Op.31 No.1: 1. Allegro vivace
Piano Sonata No.16 In G, Op.31 No.1: 2. Adagio grazioso
Piano Sonata No.16 In G, Op.31 No.1: 3. Rondo. Allegretto
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.18 In E Flat, Op.31 No.3: 1. Allegro
Piano Sonata No.18 In E Flat, Op.31 No.3: 2. Scherzo. Alllegretto vivace
Piano Sonata No.18 In E Flat, Op.31 No.3: 3. Menuetto. Moderato e grazioso
Piano Sonata No.18 In E Flat, Op.31 No.3: 4. Presto con fuoco

Tracks:

Piano Sonata No.21 In C, Op.53 'Waldstein': 1. Allegro con brio
Piano Sonata No.21 In C, Op.53 'Waldstein': 2. Introduzione. Adagio molto - Rondo. Allegretto moderato - Prestissimo
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Inroduzione col Basso del Tema. Allegretto vivace
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Variazioni I-XV
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Finale. Alla Fuga. Allegro con brio - Andante con moto
32 Piano Variations In C Minor On An Original Theme, WoO 80
Rondo In G, Op.51 No.2

Tracks:

Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 1. Allegro assai
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 2. Andante con moto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 3. Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 1. Adagio cantabile - Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 2. Allegro vivace
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 1. Das Lebewohl. Adagio - Allegro
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 2. Abwesenheit. Andante espressivo
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 3. Das Wiedersehn. Vivacissimamente
Piano Sonata No.27 In E Minor, Op.90: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Piano Sonata No.27 In E Minor, Op.90: 2. Nicht zu geschwind und sehr singbar vorgetragen
Piano Sonata No.20 In G, Op.49 No.2: 1. Allegro, ma non troppo
Piano Sonata No.20 In G, Op.49 No.2: 2. Tempo di Menuetto

Tracks:

Piano Sonata No.28 In A, Op.101: 1. Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo
Piano Sonata No.28 In A, Op.101: 2. Lebhaft. Marschmassig. Vivace alla Marcia
Piano Sonata No.28 In A, Op.101: 3. Langsam, und sehnsuchtsvoll. Adagio, ma non troppo, con affetto
Piano Sonata No.28 In A, Op.101: 4. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 1. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 2 Scherzo. Assai vivace - Presto - Prestissimo - Tempo I
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 3. Adagio sostenuto. Appassionato e con molto sentimento
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 4. Largo - Allegro risoluto

Tracks:

Piano Sonata No.30 In E, Op.109: 1. Vivave, ma non troppo - Adagio espressivo - Tempo I -2. Prestissimo
Piano Sonata No.30 In E, Op.109: 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
Piano Sonata No.31 In A Flat, Op.110: 1. Moderato cantabile molto espressivo
Piano Sonata No.31 In A Flat, Op.110: 2. Allegro molto
Piano Sonata No.31 In A Flat, Op.110: 3. Adagio ma non troppo
Piano Sonata No.31 In A Flat, Op.110: 4. Fuga. Allegro ma non troppo
Piano Sonata No.32 In C Minor, Op111: 1. Maestoso - Allegro con brio ed appassionato
Piano Sonata No.32 In C Minor, Op111: 2. Arietta. Adagio molto semplice e cantabile

Tracks:

33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Tema : Vivace - Variation I. Alla marcia maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation II Poco allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation III L'istesso tempo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IV Un poco piu vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation V Allegro vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VI Allegro ma non troppo e serioso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VII Un poco piu allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VIII Poco vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IX Allegro pesante e risoluto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation X Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XI Allegretto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XII Un poco piu moto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIV Grave e maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XV Presto scherzando
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVI Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVII
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVIII Poco moderato
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIX Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XX Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXI Allegro con brio - Meno allegro - Tempo I - Meno allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXII Allegro molto alla 'Notte giorno faricar' di Mozart
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIII Allegro assai
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIV Fughetta. Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXV Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVI
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVIII Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIX Adagio ma non troppo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXX Andante sempre cantabile
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXI Largo, molto espressivo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXII Fuga. Allegro - Poco adagio
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXIII Tempo di minuetto moderato

Tracks:

Piano Concerto No.1 In C, Op. 15: 1. Allegro con brio
Piano Concerto No.1 In C, Op. 15: 2. Largo
Piano Concerto No.1 In C, Op. 15: 3. Rondo. Allegro scherzando
Piano Concerto No.2 In B Flat, Op.19: 1. Allegro con brio
Piano Concerto No.2 In B Flat, Op.19: 2. Adagio
Piano Concerto No.2 In B Flat, Op.19: 3. Rondo. Molto allegro

Tracks:

Piano Concerto No.3 in C minor, Op.37: 1. Allegro con brio
Piano Concerto No.3 in C minor, Op.37: 2. Largo
Piano Concerto No.3 in C minor, Op.37: 3. Rondo. Allegro
Piano Concerto No.4 In G, Op.58: 1. Allegro moderato
Piano Concerto No.4 In G, Op.58: 2. Andante con moto
Piano Concerto No.4 In G, Op.58: 3. Rondo. Vivace

Tracks:

Piano Concerto No.5 In E Flat, Op.73 'Emperor': 1. Allegro
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 2. Adagio un poco mosso
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 3. Rondo. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 1. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 2. Largo
Triple Concerto For Piano, Violin And Cello In C, Op.56: 3. Rondo alla Polacca

Amazon.com

Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find.

Arrau's devotion to Beethoven is memorialized by this budget-priced, 14-CD collection of his recordings, mostly from the 1960s, of the composer's 32 sonatas, five concertos (with Bernard Haitink conducting the Concertgebouw Orchestra of Amsterdam), and most important sets of variations. His Beethoven is not always successful. His sometimes ponderous seriousness keeps early works, such as the Sonata No. 3 and the Concerto No. 2, from smiling, and his lack of spontaneity makes the whimsy in Sonata No. 26 and the "Diabelli Variations" sound labored. But in the composer's weightiest works, Arrau can produce revelations. Certainly, no one plays Sonata No. 32 better. The first movement sounds like thunder that comes ever closer and the finale's chains of trills, played with exquisite finish and expressive perfection, transport the listener to a higher realm. If Arrau could be single-minded in his devotion to the composer's score, he also believed that music could encompass everything. When Arrau was at his best--as he frequently is in this set--it does. --Stephen Wigler

Customer Reviews:

The one collection I cannot imagine being without.......2007-01-30

It would be absurd to recommend recommending one Beethoven cycle to the exclusion of all others, yet it is Arrau's cycle to which I repeatedly return, despite some flaws mentioned by other reviewers.

They are flaws which can be forgiven. Scherzi which would be brimming with mirth & vitality in the hands of others may come up short, but it is more than compensated for by the revelations to be found as Arrau explores every aspect of Beethoven at his most profound. There always seems to be something new to be discovered. Flabby? It is hard to imagine how someone could come to this conclusion.

Even the sound quality for recordings dating back into the 1960's has been remastered so as to be acceptable to all but the most spoiled of listeners, who apparently are satisfied only with the most seamless homogenized studio sound. Those who can't get past the slightly imperfect sound quality are focusing on the wrong details.

If the greatness of the performance were not enough, the price should be enough to convince any serious music lover to add these to a CD collection. One cannot overstate how rewarding this collection will be to anyone who does not yet know the artistry of Arrau.

MASTERY.......2007-01-26

One man's viewpoint: Arrau amazes me as he sets the notes down with such clean deliberation! Total command. No matter how fast Beethoven is charging along. And as Arrau gets every note, we find the real Beethoven genius shining through - after all, as raw material, this is some of the finest piano music anywhere. Of course, this playing delivers passion and heart-and-soul communication too. And a sense of commitment and strength.
I suggest this set - with about nine stars! Mastery in art. *** For a lighter, more joyful touch - and great tone - ALSO get hold of O'Conor's set of the 32. I suggest this set - with about nine stars!

Magisterial... mystical.......2006-11-03

I've been listening to Beethoven's sonatas for fifty years and have heard all of them by some, and some of them by all the available recorded performers. Overall, Claudio Arrau is my favorite interpreter of the sonatas. To me he has an inner affinity with Beethoven that is uncanny. Beethoven was a man of great character. And that greatness, detached from his person in the form of musical ideas, enters the listener through intermediaries such as Arrau. When it is done right, it works a sort of righteous therapy, and makes the listener a better person for the hearing.

Arrau describes Beethoven's greatness in his essay "Thoughts on Beethoven" in the 33 1/3 Philips LP edition. "Beethoven has always stood for the spirit of man victorious. His message of endless stuggle concluding in the victory of renewal and spiritual rebirth...his life was an existential fight for survival...In the sense that he mastered both his life and his art to reach the ultimate heights of creation and transfiguration, he will last as long as man's spirit to prevail lasts on this earth." Part of the greatness of Beethoven's character came from his ability to be intimately close and at the same time at an infinite distance above his listener. Arrau possesses this same character, and his qualities as a man and artist are why he is able to so aptly render the greatness of Beethoven.

A book titled "Conversations with Arrau" was written by Joseph Horowitz to celebrate the artists's 80th birthday in 1982. I've only read the extracts published with the Philips edition, but there is enough information to get a feel for Arrau's character. He guarded the purity of his environment. He shunned parties and avoided small talk. He never drank or smoked, never learned to drive a car, boil an egg, or even operate a phonograph. His only hobby was gardening. Horowitz describes him as the embodiment of the nineteenth-century model of the artist as solitary, suffering hero. He was small (5'6") and frail, but in 1982 at age 80 he was still playing more that 70 concerts a season.

Rather than launch a discussion of his individual works (this has been done admirably by many of the reviewers) I will remark on just a few. I never properly appreciated the Fourth and the Seventh Sonatas until I heard Arrau's reading of these works. His Fourth takes 31 minutes, 30 seconds. Annie Fischer, another great interpreter of Beethoven, plays it in 27 minutes, 30 seconds. And Ms. Fischer does not play at a hurried tempo.

Yes, Arrau plays the sonatas at a slower tempo than any other interpreter. He also achieves a mystical quality in his interpretations that is unmatched. The second movement of the Seventh comes in at 10 min, 30 seconds. It is the greatest 10 1/2 minutes of piano music ever conceived. When interpreted by Arrau it becomes a microcosm of Beethoven's life and work. The second movement of the Appassionata is a sacred hymn.

Arrau's five piano concertos are splendid. I've heard no other renditions of the concertos with slow movements that equal Arrau's. No one plays the middle movements with his expressiveness and sense of the numinous. And his rendition of the "Eroica Variations" is on a par with the top few recordings of this piece.

If you have any interest in Beethoven, at whatever level, this bargain is outstanding.

Beethoven + Arrau = Divinity.......2006-10-29

If you love Beethoven, Arrau's interpretation will certainly be a joyful addition to your classical music collection. For me, his is the definitive Beethoven.

Though some will likely disagree, I have listened to many other great pianists' recordings of Beethoven sonatas, and they are great (don't get me wrong). Yet Arrau is unique in his ability to bring to light subtleties in the melodies that no one else can, and these often turn out to be the most enlightening and resonant of passages. His Op. 111 is indeed unparalleled, and his recording of the 2nd movement is one of my favorite pieces in the world. On top of that, his rendition of the Moonlight Sonata, his Waldstein, his Concertos, every recording on this boxed set is a testament to the depth Arrau worked diligently and consciously to achieve; depth that transcends technical showmanship and for the intuitive listener can certainly elicit fleeting glimpses of divine ecstasy.

At any price, it's a steal - beauty of this magnitude is all too rare.

Beethoven himself would be proud........2006-06-19

This is a masterpiece. Don't listen to the one negative review, as this guy is tone deaf. This compilation of Beethoven's music is a treasure to behold. A bargain at twice the price, this is well worth the money. Excellent! Excellent! Excellent!

Average customer rating:

Superb music - lousy packaging
AMONG THE BEST
Excellent bargain
So wonderful that these have been re-released
Deep and thoughtful

Beethoven: The Complete Piano Sonatas
Beethoven , and Frank
Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

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Beethoven: Piano Sonatas [Germany]

ASIN: B000063DK9
Release Date: 2006-01-01

Tracks:

I. Allegro
II. Adagio
III. Menuetto: Allegretto/Trio
IV. Prestissimo
I. Allegro
II. Adagio Grazioso
III. Rondo: Allegretto
I. Allegro Assai/Piu Allegro
II. Andante Con Moto Allegro, Ma Non Troppo/Presto

Tracks:

I. Allegro
II. Allegretto/Maggiore
III. Rondo: Allegro Comodo
I. Largo/Allegro
II. Adagio
III. Allegretto
I. Vivace, Ma Non Troppo/Adagio Espressivo
II. Prestissimo
III. Gesangvoll, Mit Innigster Empfindung (Variations 1-6)

Tracks:

I. Allegro Molto E Con Brio
II. Adagio Molto
III. Finale. Prestissimo
I. Allegro
II. Andante
III. Scherzo: Allegro Vivace/Trio
IV. Rondo: Allegro, Ma non Troppo/Piu Allegro Quasi Presto
I. Presto Alla Tedesca
II. L'Absence: Andante Espressivo/Le Retour: Vivacissimamente

Tracks:

I. Allegro Con Brio
II. Adagio
III. Scherzo: Allegro/Trio/Coda
IV. Allegro Assai
I. In Tempo D'Un Menuetto
II. Allegretto/Piu Allegro
I. Allegro
II. Allegretto
III. Presto
I. Moderato cantabile, Molto Espressivo
II. Allegro Molto
III. Adagio, Ma Non Troppo/Fugue: Allegro, Ma Non Troppo

Tracks:

I. Grave/Allegro Di Molto E con Brio
II. Adagio Cantabile
III. Rondo: Allegro
I. Presto Alla Tedesca
II. Andante
III. Vivace
I. Adagio Cantabile/Allegro, Ma Non Troppo
II. Allegro Vivace
I. Allegro
II. Scherzo: Allegretto Vivace
III. Menuetto: Moderato E Grazioso/Trio
IV. Presto Con Fuoco

Tracks:

I. Andante
II. Rondo: Allegro
I. Allegro, Ma Non Troppo
II. Tempo Di Menuetto
I. Allegro
II. Scherzo: Assai Vivace
III. Adagio Sostenuto
IV. Largo/Allegro Risoluto

Tracks:

I. Presto
II. Largo E Mesto
III. Menuetto/Allegro/Trip
IV. Rondo: Allegro
I. Mit Lebhaftigkeit Und Durchaus Mit Empfindung Und Ausdruck
II. Nicht Zu Geschwind Und Sehr Singbar
I. Allegro Con Brio
II. Introduzione: Adagio Molto
III. Rondo: Allegretto Moderato

Tracks:

I. Allegro Molto E Con Brio
II. Largo, Con Gran Espressione
III. Allegro/Minore
IV. Rondo: Poco Allegretto E Grazioso
I. Andante Con Variazione
II. Scherzo: Allegro Molto/Trio
III. Marcia Funebre Sulla Morte D'un Eroe
IV. Allegro
I. Etwas Lebhaft Und Mit Der innigsten Empfindung
II. Lebhaft, Marschmassig
III. Langsam Und Sehnsuchtvoll/Geschwinde, Doch Nicht Zu sehr, Und Mit Entschlossenheit

Tracks:

I. Allegro Vivace
II. Largo Appassionato
III. Scherzo: Allegretto
IV. Rondo: Grazioso
I. Allegro Con Brio
II. Adagio Con Molta Espressione
III. Menuetto/Minore
IV. Rondo: Allegretto
I. Adagio Sostenuto
II. Allegretto
III. Presto

Tracks:

I. Allegro
II. Andante
III. Scherzo: Allegro Assai
I. Andante/Allegro/II. Allegro Molto E Vivace/III. Adagio Con Espressione/IV. Allegro Vivace/Presto
I. Maestoso/Allegro Con Brio Ed Appassionato
II. Arietta: Adagio Molto Semplice E Cantabile

Customer Reviews:

Superb music - lousy packaging.......2007-03-30

The playing and sound is superb and the price is right. I have one big complaint, though. My set came with no liner notes whatsover, not even a listing of the pieces and which of the ten CDs they are on. This information is found only printed on the CDs themselves, which means you have to rummage through them to find a particular sonata. And even then the track listings are not given, so unless you have memorized how many movements each sonata has you are out of luck on finding where a particular one begins. Quite an oversight - I would gladly have paid a few dollars more if they had included a brochure with complete track information.

AMONG THE BEST.......2006-11-28

One man's viewpoint:
I have three other sets of the 32, and love them all. I must say that Frank can really cut it - great agility, a bit of rubato, and a sense of true comprehension and mastery of the music. His Hammerklavier surprised me: It's one of the most thoughtfull I own.
*** Frank can--in some pieces--transport us in ways we hadn't expected. When I bought this, I paid an amazing low price. Now, to my ears, it's worth triple that amount. Get this set and the O'Conor set. Fall in love twice.

Excellent bargain.......2006-07-26

I agree with the positive comments of all the reviewers below. A couple of points that that might interest prospective purchasers:
1. Most of the repeats, but not all, are observed.
2. Although I agree that the level of playing and interpretation is VERY high, I found Frank's mannerism of anticipating the right hand with the left occurred often enough to be annoying.
That said, this set will give a great deal of pleasure, but I agree that I wouldn't want it to be the only one in my collection.

So wonderful that these have been re-released.......2006-03-27

I "grew up" with these recordings, bought the set on vinyl in college. I was thrilled to find they'd been re-released on CD; like the Guarneri recordings of the Beethoven string quartets. There is a world of thought and care and joy here.

Deep and thoughtful.......2006-01-12

This is a marvelous set of the piano sonatas. I learned about the set from Professor Greenberg's lecture series on the Beethoven piano sonatas (also worth getting from The Teaching Company). Greenberg uses this set to illustrate his lectures.

Yes, it's true that one can find flashier performances of a few of the pieces elsewhere (I've heard the Waldstein much more fiery), but these performances fit together nicely as a deep reading of the whole set. They are invariably beautiful and thoughtful. A few are, to me, mind-blowing (the Les Adieu, the Pathetique, second movement of the Opus 111, several of the scherzi).

Also, the sound on the CD is terrific. Hightly recommended.

Average customer rating:

A good reference copy
Lowest-cost complete set
A very good bargain buy for Beethoven Sonatas
YOu get what you pay for...and in this case,,,a pinch more.
Great Bargain - Great Playing - So So Sound Quality

Beethoven: Complete Piano Sonatas

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

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Mozart:The Complete Piano Sonatas and Variations

ASIN: B0000037B3
Release Date: 1997-10-07

Tracks:

Sonata No. 1 In F Minor, Op. 2 No. 1: I. Allegro
Sonata No. 1 In F Minor, Op. 2 No. 1: II. Adagio
Sonata No. 1 In F Minor, Op. 2 No. 1: III. Allegretto
Sonata No. 1 In F Minor, Op. 2 No. 1: IV. Prestissimo
Sonata No. 22 In F Major, Op. 54: I. In Tempo dnuetto
Sonata No. 22 In F Major, Op. 54: II. Allegreto
Sonata No. 23 In F Minor, Op. 57 'Appassionata': I. Allegro assai
Sonata No. 23 In F Minor, Op. 57 'Appassionata': II. Andante con moto
Sonata No. 23 In F Minor, Op. 57 'Appassionata': III Allegro ma non troppo

Tracks:

Sonata No. 2 In A Major, Op. 2 No. 2: I. Allegro vivace
Sonata No. 2 In A Major, Op. 2 No. 2: II. Largo appassionata
Sonata No. 2 In A Major, Op. 2 No. 2: III. Scherzo: Allegretto
Sonata No. 2 In A Major, Op. 2 No. 2: IV. Rondo: Grazioso
Sonata No. 24 In F Sharp Major, Op. 78: I. Allegro ma non troppo
Sonata No. 24 In F Sharp Major, Op. 78: II. Allegro vivace
Sonata No. 28 In A Major, Op. 101: I. Allegretto, ma non troppo
Sonata No. 28 In A Major, Op. 101: II. Vivace alla marcia
Sonata No. 28 In A Major, Op. 101: Adagio, ma non troppo, con affetto - Allegro

Tracks:

Sonata No. 3 In C Major, Op. 2 No. 3: I. Allegro con brio
Sonata No. 3 In C Major, Op. 2 No. 3: II. Adagio
Sonata No. 3 In C Major, Op. 2 No. 3: III. Scherzo: Allegro
Sonata No. 3 In C Major, Op. 2 No. 3: IV. Allegro assai
Sonata No. 19 In G Minor, Op. 49 No. 1: I. Andante
Sonata No. 19 In G Minor, Op. 49 No. 1: II. Rondo: Allegro
Sonata No. 21 In C Major, Op. 53 'Waldstein': I. Allegro con brio
Sonata No. 21 In C Major, Op. 53 'Waldstein': II. Introduzione - Rondo

Tracks:

Sonata No. 4 In E Flat Major, Op. 7: I. Allegro molto e con brio
Sonata No. 4 In E Flat Major, Op. 7: II. Largo, con gran espressione
Sonata No. 4 In E Flat Major, Op. 7: III. Allegro
Sonata No. 4 In E Flat Major, Op. 7: IV. Rondo: Poco allegretto e grazioso
Sonata No. 10 In G Major, Op. 14 No. 2: I. Allegro
Sonata No. 10 In G Major, Op. 14 No. 2: II. Andante
Sonata No. 10 In G Major, Op. 14 No. 2: III. Scherzo: Allegro assai
Sonata No. 26 In E Flat major, Op. 81a 'Les adieux, l'absence et le retour': I. Adagio - Allegro
Sonata No. 26 In E Flat major, Op. 81a 'Les adieux, l'absence et le retour': II. Andante espressivo
Sonata No. 26 In E Flat major, Op. 81a 'Les adieux, l'absence et le retour': III. Vivacissimamente

Tracks:

Sonata No. 5 In C Minor, Op. 10 No. 1: I. Allegro molto e con brio
Sonata No. 5 In C Minor, Op. 10 No. 1: II. Adagio molto
Sonata No. 5 In C Minor, Op. 10 No. 1: III. Prestissimo
Sonata No. 6 In F Major, Op. 10 No. 2: I. Allegro
Sonata No. 6 In F Major, Op. 10 No. 2: II. Allegretto
Sonata No. 6 In F Major, Op. 10 No. 2: III. Presto
Sonata No. 7 In D Major, Op. 10 No. 3: I. Presto
Sonata No. 7 In D Major, Op. 10 No. 3: II. Largo e mesto
Sonata No. 7 In D Major, Op. 10 No. 3: III. Menuetto: Allegro
Sonata No. 7 In D Major, Op. 10 No. 3: IV. Rondo: Allegro

Tracks:

Sonata No. 11 In B Flat Major, Op. 22: I. Allegro con brio
Sonata No. 11 In B Flat Major, Op. 22: II. Adagio con molto espressione
Sonata No. 11 In B Flat Major, Op. 22: III. Menuetto
Sonata No. 11 In B Flat Major, Op. 22: IV. Rondo: Allegretto
Sonata No. 20 In G Major, Op. 49 No. 2: I. Allegro, ma non troppo
Sonata No. 20 In G Major, Op. 49 No. 2: II. Tempo di minuetto
Sonata No. 15 In D Major, Op. 28 'Pastoral': I. Allegro
Sonata No. 15 In D Major, Op. 28 'Pastoral': II. Andante
Sonata No. 15 In D Major, Op. 28 'Pastoral': III. Scherzo: Allegro vivace
Sonata No. 15 In D Major, Op. 28 'Pastoral': IV. Rondo: Allegro ma non troppo

Tracks:

Sonata No 25 In G Major, Op. 79: I. Presto alla tedesca
Sonata No 25 In G Major, Op. 79: II. Andante
Sonata No 25 In G Major, Op. 79: III. Vivace
Sonata No 17 In D Minor, Op. 31 No. 2 'Tempest': I. Allegro
Sonata No 17 In D Minor, Op. 31 No. 2 'Tempest': II. Adagio
Sonata No 17 In D Minor, Op. 31 No. 2 'Tempest': III. Allegretto
Sonata No. 15 In E Flat Major, Op. 31 No. 3: I. Allegro
Sonata No. 18 In E Flat Major, Op. 31 No. 3: II. Scherzo: Allegro vivace
Sonata No. 18 In E Flat Major, Op. 31 No. 3: III. Menuett: Moderato e grazioso
Sonata No. 18 In E Flat Major, Op. 31 No. 3: IV. Presto con fuoco

Tracks:

Sonata No. 13 In E Flat Major, Op 27 No. 1: I. Andante
Sonata No. 13 In E Flat Major, Op 27 No. 1: II. Allegro molto e vivace
Sonata No. 13 In E Flat Major, Op 27 No. 1: III. Adagio con espressione
Sonata No. 13 In E Flat Major, Op 27 No. 1: IV. Allegro vivace
Sonata No. 29 In B Flat Major, Op. 106 'Hammerklavier': I. Allegro
Sonata No. 29 In B Flat Major, Op. 106 'Hammerklavier': II. Scherzo: Assai vivace
Sonata No. 29 In B Flat Major, Op. 106 'Hammerklavier': III. Adagio sostenuto
Sonata No. 29 In B Flat Major, Op. 106 'Hammerklavier': IV. Largo - Allegro risoluto

Tracks:

Sonata No 9 In E Major, Op. 14 No. 1: I. Allegro
Sonata No 9 In E Major, Op. 14 No. 1: II. Allegretto
Sonata No 9 In E Major, Op. 14 No. 1: III. Rondo: Allegretto
Sonata No. 16 In G Major, Op. 31 No. 1: I. Allegro vivace
Sonata No. 16 In G Major, Op. 31 No. 1: II. Adagio grazioso
Sonata No. 16 In G Major, Op. 31 No. 1: III. Rondo: Allegretto
Sonata No 30 In E Major, Op. 109: I. Vivace ma non troppo - Adagio espressivo
Sonata No 30 In E Major, Op. 109: II. Prestissimo
Sonata No 30 In E Major, Op. 109: III. Gesangvoll mit innigster Empfindung

Tracks:

Sonata No 5 In A Flat Major, Op. 26: I. Andante con variazioni
Sonata No 5 In A Flat Major, Op. 26: II. Scherzo
Sonata No 5 In A Flat Major, Op. 26: III. Marcia funebre
Sonata No 5 In A Flat Major, Op. 26: IV. Allegro
Sonata No 14 In C Sharp Minor, Op 27 No 2 'Moonlight': I. Adagio sostenuto
Sonata No 14 In C Sharp Minor, Op 27 No 2 'Moonlight': II. Allegretto
Sonata No 14 In C Sharp Minor, Op 27 No 2 'Moonlight': III. Presto
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
Sonata No 31 In A Flat Major, Op 110: IV. Fuga: Allegro ma non troppo

Tracks:

Sonata No 8 In C Minor, Op 13 'Pathetique': I. Grave - Allegro molto e con brio
Sonata No 8 In C Minor, Op 13 'Pathetique': II. Adagio cantabile
Sonata No 8 In C Minor, Op 13 'Pathetique': III. Rondo: Allegro
Sonata No. 27 In E Minor, Op. 90: I. Mit Lebhaftigkeit und durchaus mit Empfinding und Ausdruck
Sonata No. 27 In E Minor, Op. 90: II. Nicht zu geschwind und sehr singbar vorgetragen
Sonata No. 32 In C Minor, Op. 111: I. Maestoso - Allegro con brio ed appassionato
Sonata No. 32 In C Minor, Op. 111: II. Arietta: Adagio molto semplice e cantabile

Amazon.com

Rather than present the sonatas in chronological order, each disc is refreshingly arranged as a mini-program that juxtaposes contrasting works. While Bernard Roberts doesn't quite command the flexible technique of Sviatoslav Richter or the individual point of view set out in cycles by Schnabel, Arrau, Kempff, or Yves Nat, those wishing a super-bargain Beethoven cycle will not be disappointed. --Jed Distler

Customer Reviews:

A good reference copy.......2006-11-10

Bernard Roberts is what I'd call a "journeyman pianist". That's not a negative, its a recognition that he's a master craftsman who can be relied on to give a good interpretation of the works without taking them over. These recordings may feel a bit 'flat' or colorless as a result but it allows you, the listener, to delve a bit deeper into the music rather than the performance. This will be especially important if you are interested in studying or performing these works. (Indispensable accessory is the score, BTW -- also available from Amazon!)

Lowest-cost complete set .......2006-02-10

If you are looking for your first COMPLETE set of Beethoven's 32 piano sonatas, you've just found the LOWEST COST set available. But is it "the best" or a good one?? Depends on a lot of course. Beethoven's Piano Sonatas are one category in classical music brimming with an abundance of quality choices - both historic and modern - and begs the obvious question, "Which set to chose?" With Kempff we have a "gentleman's Beethoven" ... with Pollini a surgical precision ... Alfred Brendel gives wonderfully conceived masterpieces ... with Goode comes some very poised playing in the classical tradition ... and with Richter, Nikolavia or Kovacavich some fire. (Kovacavich's cycle is my personal favorite). One can spend hours and hours comparing performers and recordings work-by-work and still not really have a solid feel for which one is "the best" - at least for you. And in doing so, the focus can become overly weighted on the finding the elusive "ideal" recording that one can miss the importance of just sitting down with one of the many great recordings available and revelling in the depths of Beethoven's piano music.

All things considered, Bernard Robert's complete cycle here is a solid choice - not overly "poetic" ... nor overly "Romantic" or brash. In addition to Bernard Roberts set here, a similar "super budget" set from Claude Frank was re-released on the Music & Arts label (about $59). Other sets will cost $100 and up typically. Both Frank and Roberts give simimlarly compelling, musically rich and interpretatively balanced readings. Frank's style is more lucid and refined where Roberts brings more intensity. Such complete sets as these form a solid reference point to understand and appreciate the other historic performer's interpretive artistry (as most connoisseurs have several sets eventually). At some point of one's musical journey, it becomes enlightening to listen to historic greats as Schnabel, Kempff, Arrau, Serkin, Goode, Gilels, Kovacavich ... but early on it is probably more important just to hear Beethoven-for-Beethoven and focus less on the performer. And these inexpensive sets allow that for the budget buyer.

But don't let the price or lack of popularity make you think either of these budget sets are sub-standard performances either. Bernard Roberts is well known and much admired in his native England while German-born Claude Frank's Beethoven's recordings were, according to music writer and pianist David Dubal, "highly prized." Both get good reviews (both on Amazon and music press) and both represent Beethoven faithfully and with much artistry. Where Frank's cycle is a more closely-miked sound environemnt, Robert's recordings have a more resonant ambiance. If price is the main consideration, Roberts set is unbeatable and the best way to begin the journey to explore the 32 sonatas.

A very good bargain buy for Beethoven Sonatas.......2005-12-06

Bernard Roberts may not be a name widely known in the USA, but his recordings of the Beethoven Sonatas for Nimbus dating from the mid 1980s are very good. If you are not a diehard fan of Richter, Rubinstein, Horowitz, Kempff, or Backhaus and absolutely MUST have their recordings, Roberts is worth considering. He has fine technique, but never shows off, pounds or distorts anything in the music to bring attention to himself; in short, Beethoven is served, not pianist Bernard Roberts.

I have about 80% of these recordings on separate Nimbus releases, and can only say I am very pleased with both recorded sound and playing. Of course with complete sets of Beethoven Piano Sonatas, there are always some performances superceded by individual ones of other pianists, but these should please most anyone who doesn't require a recording of one of the above listed pianists.

Budget price + fine recorded sound + great playing = a successful recording set which I am pleased to recommend.

YOu get what you pay for...and in this case,,,a pinch more........2005-12-01

I bought this set when i was younger, less knowledgeable about the individual qualities an individual may bring to a performance. I thought, hey, they all play the same notes, right. So to get all Beeth sonata's at such a cheap price, i thought sure.
I already had the named sonata's by Serkin, whom my father recommended as his supreme beethoven player, and to this day I still hear them the way he played them, and Roberts is no serkin.
Again, this being before i realized how much the performer mattered, i was disappointed on the whole with the sonata's, feeling that maybe the serkin disc was enough in that all the "good" named sonata's were there.
Every day i listened to one or too discs in a sitting, making sure i missed nothing.
Disappointment is what i felt.
Now that i am older, and more intelligent in the method of performing, and an accomplished performer my self, one able to provide their own mark to their own performance, one with the ability to understand what one is doing, and how to do it, i have numerous collections of this set. Schnabel was the first "historical set i bought" with much the same reaction in terms of sound as i had to the playng of the roberts set.
I now own Gilels, Barenboim, Schnabel, Richter(in most), Fischer(annie) Roberts, brendel, arrau, and kempff. and have listened to, as i did with roberts to Goode(a very decent account), and Kovavich(though i dont own them.
The top of my list is most suredly Kempff(60's), but it was not always so. as my respect for the performance grew, so did my taste for kempff. Brendel always bored me, as did Barenboim(i found myself passing out-which i never do). Fischer and Gilels are both extremes, that at first hearing are truly exciting and fresh(despiite a repeated claim about Gilels lack of soul). The Backhaus was, for me, a surprisingly excellent set and the Arrau had much going for it in the latter half. I adore richter, but his beethoven is usually hit or miss, but when its a hit it is top of the mountain. So that leads us back to Roberts. There are many things that i actually like here, such as his performance of op 10\3 final mvmt. He plays it with minimal pedal, letting the voices speak for themselves, there is only one version i enjoy more, and that, surprisingly is John o'Connor(or just connor)?-though i hate his cycle-or what i have heard. Overall, for the money, depending on how serious you are, like for instance, if you are not satisfied are you going to go out and spend more money, then i would save it the first time and go for Kempff. But if you are young, as i was, and must hear them, but dont have the money, first go to your library and see if they have an aforementioned copy and burn it, and if you want to own it for cheap, you cant do much better than this for the price. Another thing you could do is buy artur schnabel's account on naxos for 6.99 a disc, but know beforehand that the sound is variable(the recordings are from the 30's) but give it a chance and you will learn to appreciate the playing itslef and not what today's engineers have to say about the music. This ability to listen in spite of the engineers is somehing that will enable you to enjoy so much music that most will not-i.e cortot, rach, moiseiw, hofman, etc.

Great Bargain - Great Playing - So So Sound Quality.......2005-08-10

This is the only complete set of the Beethoven Sonatas that I own, and so far I have been very happy with it. First off, the price is excellent. I know for a fact that I probably NEVER would have purchased my first complete set if I had to pay close to $100 for it! This is a great way to get introduced to the complete set.

I've heard a few sonatas on other CDs by other players, but for the most part, this is the only version I've heard of most of these sonatas, so I can't really compare them to other players. However, as a music collector and pianist, I can recognize good piano playing when I hear it, even without another version for comparison. Robert's playing is clean and accurate and stylistically very appropriate. Every phrase and passage is well thought out and shaped, enhancing the music without distracting from it.

The only complaint that I would have is that sometimes the sound has a little too much reverb for my tastes, which can affect the clarity of some passage (particularly those written in the lower range of the keyboard).

As others have said, this is a great starter set for anyone wanting to get all the sonatas at a great price. My advice would be to get this nicely priced set, then if there are certain sonatas you really love and want other versions, perhaps buy only those. While all the sonatas are well written, I don't love them all enough to warrant purchasing multiple versions. However, this set has allowed me to find those sonatas which really speak to me, so that I can then pursue those further without having to pay an arm and a leg buying all 32 over again. Enjoy!

Beethoven: Complete Sonatas for Piano & Cello

Average customer rating:

Good Alternative Beethoven Cello Set...
Great Stuff
Ma and Ax do it again!

Beethoven: Complete Sonatas for Piano & Cello

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000026GN
Release Date: 1990-10-25

Tracks:

Sonata No. 1 For Piano & Cello, Op. 5, No. 1 (F Major): I - Adagio sostenuto; Allegro
Sonata No. 1 For Piano & Cello, Op. 5, No. 1 (F Major): II - Rondo: Allegro vivace
Sonata No. 2 For Piano & Cello, Op. 5, No. 2 (G Minor): I - Adagio sostenuto ed espressivo; Allegro molto piu tosto presto
Sonata No. 2 For Piano & Cello, Op. 5, No. 2 (G Minor): II - Rondo: Allegro
Sonata No. 4 For Piano & Cello, Op. 102, No. 1 (C Major): I - Andante; Allegro vivace
Sonata No. 4 For Piano & Cello, Op. 102, No. 1 (C Major): II - Adagio; Allegro vivace

Tracks:

Sonata No. 3 For Piano & Cello, Op. 69 (A Major): I - Allegro ma non tanto
Sonata No. 3 For Piano & Cello, Op. 69 (A Major): II - Scherzo: Allegro molto
Sonata No. 3 For Piano & Cello, Op. 69 (A Major): III - Adagio cantabile; Allegro vivace
Sonata No. 5 For Piano & Cello, Op. 102, No. 2 (D Major): I - Allegro con brio
Sonata No. 5 For Piano & Cello, Op. 102, No. 2 (D Major): II - Adagio con molto sentimento d'affetto
Sonata No. 5 For Piano & Cello, Op. 102, No. 2 (D Major): III - Allegro fugato
Seven Variations On The Theme 'In Men, Who Know The Feeling Of Love' From Mozart's (From Mozart's 'The Magic Flute, For Cello And Piano, WoO 46)
Twelve Variations On The Theme 'A Maiden Or A Wife' (From Mozart's 'The Magic Flute, For Cello And Piano, Op. 66)

Amazon.com essential recording

These are among the finest modern recordings of Beethoven's Cello Sonatas. The two players are well matched, as they should be in this music, which is just as demanding for the pianist as for the cellist, if not more so. They don't try to differentiate stylistically among early, middle, and late sonatas. They play them all in a large scale, concert-hall manner, which actually suits all of them very well. Unfortunately, in reducing this recording to two CDs, the producers have dropped one set of Variations, which was recorded. What is present, though, is choice. --Leslie Gerber

Customer Reviews:

Good Alternative Beethoven Cello Set..........2005-11-16

Seems to be a lot of disagreement on this set. I have both this one and the Fournier & Kempff set. I like them both. I can say that Ma & Ax take all repeats, thusly extending the playing time of each movement anywhere from 3-5mins over the Fournier & Kempff set. I've always thought Ma a fine cellist. I rate his Bach solo cello second only to Casals, and tied with Fournier. Ax is a solid pianist, if not brilliant. Kempff is preferred with Beethoven, however.

Anyway, this is a solid set: can't go wrong. The Fournier & Kempff set, likewise.

Great Stuff.......2003-06-23

I have listened to many recordings of these sonatas and I have to admit that these are amazing!
Although I agree that Yo-Yo Ma is not the best cellist to have ever walked the earth (anyone who knows anythign about cello playing would admit this) he is certainly without doubt the best around at the moment!!! Who knows who he rates better than Ma. Du Pre?? I hope not!
People often forget that a sonata is a piece of chamber music! Ma and Ax, certainly not forgeting this play so beautifully together in this that this is a piece of chamber music that cannot be missed!
BUY IT!!!!!!!! (Whilst throwing away any recordings of du pre!)

Ma and Ax do it again!.......2000-06-13

At first I was hesitant to buy this set because of the price. But later I found out that it was well worth it. Their ability to basically control the instruments that they are playing is incredible. Most importantly is the feeling that they have put in to the Beethoven cello sonatas. I have noticed that of all the classical duos and trios that i have heard, Ma and Ax are the best. They seem to communicate well together while playing. This selection definitely receives five stars.

Beethoven: The Complete Piano Sonatas; Bagatelles Op. 119, Op. 126

Average customer rating:

It's All Here, and Then Some: A Romantic Feast
When he is good, he is very, very good, and when he is bad...
Masculine Beethoven
Very enjoyable.
Beethoven with Horsepower!!!

Beethoven: The Complete Piano Sonatas; Bagatelles Op. 119, Op. 126

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000DB55A
Release Date: 2004-01-13

Tracks:

I: Allegro
II: Adagio
III: Menuetto: Allegretto
IV: Prestissimo
I: Allegro Vivace
II: Largo Appassionato
III: Scherzo: Allegretto
IV: Rondo: Grazioso
I: Allegro Con Brio
II: Adagio
III: Scherzo: Allegro
IV: Allegro Assai

Tracks:

I: Allegro Molto E Con Brio
II: Largo, Con Gran Espressione
III: Allegro
IV: Rondo: Poco Allegretto E Grazioso
I: Allegro Molto E Con Brio
II: Adagio Molto
III: Finale: Prestissimo
I: Allegro
II: Adagio Molto
III: Presto
I: Presto
II: Largo E Mesto
III: Menuetto: Allegro
IV: Rondo: Allegro

Tracks:

I: Grave - Allegro Molto E Con Brio
II: Adagio Cantabile
III: Rondo: Allegro
I: Allegro
II: Allegretto
III: Rondo: Allegro Comodo
I: Allegro
II: Andante
III: Scherzo: Allegro Assai
I: Allegro Con Brio
II: Adagio Con Molto Espressione
III: Menuetto
IV: Rondo: Allegretto

Tracks:

I: Andante Con Variazioni
Var. I
Var. II
Var. III
Var. IV
Var. V
II. Scherzo: Allegro Molto
III: Marcia Funebre Sulla Morte D'un Eroe: Maestoso Andante
IV. Allegro
I: Andante - Allegro - Tempo I
II: Allegro Molto E Vivace -
III: Adagio Con Espressione
Allegro Vivace
I: Adagio Sostenuto
II: Allegretto
III: Presto Agitato - Adagio - Presto Agitato
I: Allegro
II: Andante
III: Scherzo: Allegro Vivace
IV: Rondo: Allegro Ma Non Troppo

Tracks:

I: Allegro Vivace
II: Adagio Grazioso
III: Rondo: Allegretto - Adagio - Presto
I: Largo - Allegro
II: Adagio
III: Allegretto
I: Allegro
II: Scherzo: Allegretto Vivace
III: Menuetto: Moderato E Grazioso
I: Andante - Allegro - Tempo I -
II: Allegro Molto E Vivace
III: Adagio Con Espressione
Allegro Vivace
I: Adagio Sostenuto

Tracks:

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

Tracks:

I: Das Lebewohl (Les Adieux): Adagio - Allegro
II: Die Abwesenheit (L'Absence): Andante Espressivo
III: Das Wiedersehn (Le Retour): Vivacissimamente - Poco Andante - Tempo I
I: Mit Lebhaftigkeit Und Durchaus Mit Empfindung Und Ausdruck (Con Vivacita E Sempre Con Sentimento Ed Espressione)
II: Nicht Zu Geschwind Und Sehr Singbar Vorzutragen (Non Troppo Presto E Molto Cantabile)
I: Etwas Lebhaft Und Mit Der Innigsten Empfindung (Allegretto, Ma Non Troppo)
II: Lebhaft. Marschmassig (Vivace Alla Marcia)
III: Langsam Und Sehnsuchtsvoll (Adagio, Ma Non Troppo, Con Affetto) - Zeitmass Des Ersten Stuckes (Tempo Del Primo Pezzo) -
Geschwind, Doch Nicht Zu Sehr, Und Mit Entschlossenheit (Allegro Risoluto)
I: Vivace, Ma Non Troppo - Adagio Espressivo - Tempo I
II: Prestissimo
III: Andante Molto Cantabile E Espressivo (Gesangvoll, Mit Innigster Empfindung)
Var. I: Molto Espressivo
Var. II: Leggermente
Var. III: Allegro Vivace
Var. IV: Un Poco Meno Andante, Cioe, Un Poco Piu Adagio Del Tema (Etwas Langsamer Als Das Thema)
Var. V: Allegro, Ma Non Troppo
Var. VI: Tempo I Del Tema (Cantabile)

Tracks:

I: Allegro
II: Scherzo: Assai Vivace - Presto - Tempo I
III: Adagio Sostenuto
IV: Largo - Allegro - Prestissimo - Allegro Risoluto (Fuga A Tre Voci, Con Alcune Licenze)
I: Moderato Cantabile, Molto Espressivo
II: Allegro Molto
III: Adagio, Ma Non Troppo
Adagio, Ma Non Troppo - Arioso Dolente
IV: Fuga: Allegro Ma Non Troppo -
L'istesso Tempo Di Arioso -
L'istesso Tempo Della Fuga Poi A Poi Di Nuovo Vivente - Meno Allegro

Tracks:

I: Maestoso - Allegro Con Brio Ed Appassionato
II: Arietta: Adagio Molto, Semplice E Cantabile - L'istesso Tempo
I: Allegretto (G Minor)
II: Andante Con Moto (C)
III: A l'Allemande (D)
IV: Andante Cantabile (A)
V: Risoluto (C Minor)
VI: Andante (G)
VII: Allegro, Ma Non Troppo (C)
VIII: Moderato Cantabile (C)
IX: Vivace Moderato (A Minor)
X: Allegramente (A)
XI: Andante, Ma Non Troppo (B Flat)
I: Andante Con Moto (G)
II: Allegro (G Minor)
III: Andante (E Flat)
IV: Presto (B Minor)
V: Quasi Allegretto (G)
VI: Presto - Andante Amabile E Con Moto (E Flat)

Customer Reviews:

It's All Here, and Then Some: A Romantic Feast.......2007-03-20

After growing familiar with Brendel's early set and many versions by Richter, Backhaus, Dochnanyi, Horowitz, Serkin, Ashkenazy, Kempff, Schnabel, Pollini, Rosen, Uchida and Gould, I decided I wanted a new set of all 32 sonatas. I listened and read reviews for over a year, gathering impressions of Barenboim, Arrau, Schnabel, Jando, Kovacevich, Goode, and more impressions of those I already knew - Ashkenazy, Kempff, Brendel and Backhaus. Beethoven is my favorite composer. Though I am delighted by "cornerstone" interpretations, I value an undistracting technique and good recorded sound.

Ultimately, I decided it was between Goode and Kovacevich. I listened to the excerpts on this website and chose. When the package arrived, I felt I had erred: I should have gotten Richard Goode's set. Nevertheless, I opened it and the die was cast. Kovacevich (nee Bishop) has been a constant source of wonder. These are stunning, insightful recordings that no excerpting on a computer can do justice. The criticism that all the sonatas are played the same way in this set is simply unjustified. I felt some of that when I listened to the little snatches available online, but when I took the time to play these at home on a good stereo, it was a completely different story. I was astonished and delighted. Every time I play one of these pieces, I feel I am hearing something totally new, but intelligently conceived and emotionally authentic and fulfilling. And he plays well! The first night, I stayed up late listening to four of these CDs in a row, all the way through. I still do that, but less now as I need the sleep. There is no musical wallpaper. And do not be fooled: Kovacevich has a sweet, exquisitely warm and tender side. This is not the 2-dimensional booming some have suggested.

I am content now to enjoy these for years to come. A rich reward of new insights, with gorgeous sound and amazing technique, is all one could ask. Can a piece of music be emotionally and intellectually voluptuous? I now believe so. These 9 CDs (the last is sonata 32 and a lot of delicious bagatelles) are a treasured part of my collection. I return now and then to other versions and am amazed at the new dimensions, first here, now there, that Kovacevich has added when compared to what I had thought were definitive performances. Of course, some of these old friends will never be replaced but the entire array of the sonatas is now far more interesting than ever before. That also applies to the late sonatas: to cite just one instance, he plays No. 30 more sweetly than anyone, including Pollini. It is something to revel in. Kovacevich offers a full array of emotional experiences. What most distinguishes this set is his profound integrity as an artist. The decisions he makes are invariably just to the music and bring out what was evidently there all the time in a way that surprises and delights. Listening with one preconceived version of how Beethoven should sound (e.g., "There is no one like (fill in the blank: Arrau, Kempff, Schnabel, etc.), period") may paralyze the best intentions. Kovacevich has the artistry to transcend the impressions of most opinionated listeners. As to the more mundane issues, the accompanying critical notes are very fine and the packaging good and rather stylish. I also believe the price is fair. This is music to which I return with mingled pleasure, anticipation and reverence. Enjoy.

When he is good, he is very, very good, and when he is bad..........2006-08-17

This very uneven set does not deserve a Penguin rosette (but then, rosettes are often distributed with little, if any, sense of critical reponsibility-i.e., Janson's Tchaikovsky symphonies-BORING!).

Kovacevich is almost uniformly superb in Nos.19-32. Unfortunately, that's less than half the set. Most of the other 18 sonatas are played with ugly, bangy overdone sforzandi that leave the listener cringing in anticipation of the next overbearing onslaught (rather like the overdone drumbeats in Rattle's first Mahler 10). To be fair, 1, 6, 10, 13, 14, 16, and 17 are well done, but in the others, Kovacevich's violence destroys the long line of Beethoven's argument. No.3 is particularly bad. Tempi are so fast the ornaments are muddied, and the passages in sixteenth-note broken octaves sound like grace notes before the beat (a Schnabelesque idiosyncracy, and not one of his more laudable ones-sloppy is sloppy). I honestly wonder if Kovacevich understands Beethoven's early style. His remarks in the notes make me wonder about this: "When I was a boy, I thought Beethoven was awful: a horrible composer, loud and noisy...now I love the early works as much as the late ones..." hmm... read between the lines... His performances of the early sonatas make me wonder whether he has really outgrown his youthful misconception.

The early sonatas still have one foot rooted in the 18th century, but Kovacevich's overprojection makes me wonder if he considers them "bland" and in need of "elivening" to make them as "passionate" (or whatever) as the middle and late works (not all of which are "passionate", either). Perhaps he is trying to convey something of "the outrageous effrontery of a young man" (as a contemporary critic remarked of Beethoven's First Symphony). If so, he has succeeded-most of his early Beethoven is outrageously annoying. True, there is an element of fierceness in SOME Beethoven, but not all of it, and certainly not most of it. Nos.2, 3,5, 6, 7, 8, 9, 11, 12, 13, 15 (!!) and 18 suffer particularly badly from Kovacevich's heavy hand with the pepper sauce.

Some of my reaction may be due to that fact that the sound is VERY bright, and especially so above forte. A hefty treble cut with the tone controls makes the set more listenable overall.

In fairness, I have to admit that from No.19 onwards I really do like his set-there is some really exciting and musical playing from that point on. If middle and late Beethoven are important to one, and one tends to view the early sonatas as "unformed" waystations on the way to "the real stuff", then this may be the set for you. For me, it's merely a supplement to other more completely successful sets, such as Goode's or even Solomon's (the latter, unfortunately, incomplete, but a paragon).

Masculine Beethoven.......2006-06-26

I currently own 6 sets of Beethoven sonatas. With each set I buy, I find another great way to enjoy these sonatas. Annie Fischer remains my favorite, Gulda and Backhaus are also great. Schnabel is excellent if you can take the sound issues (I can). Barenboim's DG cycle is probably the weakest of all, though I would not want to be without his beautiful renditions.

Where does this leave Kovacevich's set? Well, he's not the best I own and he's not the worst. He's second worst. His playing is clearly dedicated and a lot of thought has gone into this set, but he is not deserving of a rosette, at least in my book. Why? He too often skims the surface of these works and even when he's on, I can think of at least a few pianists I prefer ahead of him. I just listened through these works so they are fresh on my mind. In 19 of these works, I think he does quite well. he finds a nice balance, incidentally like Gilels he's a Libra, between power and beauty. In 5 others I find him just good, not memorable, but solid. In the remaining 8 works I find his playing shallow and uninspired. This is strange to me because in works such as the Op. 10, 14, 28, 53, 90, 106, 109, 110 and 111 he is quite the opposite. These are great performances that leave a lasting impression.

This all adds up to a fairly consistent cycle, just one that is not as consistent as those Englishmen at the Penguin guide will have you believe. Kovacevich has lived in England for quite some time (hint hint.) If what you are after is a modern, masculine Beethoven sonata cycle, then this set should be worthy addtion to your collection. If you are after a top rate cycle, then the aforementioned pianists, especially Fischer, Gulda and Backhaus, are probably more what you're looking for.

Very enjoyable........2006-05-12

I had wanted to get a cycle of Beethoven that wasn't 20 or 30 years old. Then I bought a DVD of Kovacevich playing the Op 110 and 111 sonatas. That convinced me to get this box set. I can only compare it to Arrau's and Brendel's 1976 cycle, but I think it's great. I won't bore you with vain babblings - just highly recommend this set.

Beethoven with Horsepower!!!.......2006-03-08

QUESTION: Is this the best Beethoven piano cycle ever put to disk, and how does it compare with the great recordings of the past?
ANSWER: Yes, it is. In back to back comparisons with the immortal sets of Kempff, Schnabel, Brendel, and Goode (to name a few), the Kovacevich recording holds up quite well.
So well, in fact, as to be considered in a league by itself.
Take Schnabel, for instance. Yes, there is great depth in the playing, but consider the poor recording quality, the mistakes, and the lack of fire compared to Kovacevich.
Now take Brendel and Kempf. Sober, classical style playing devoid of any great highs and lows. AKA-boring.
Finally, consider Richard Goode. A truly 'fine' Beethoven cycle. Solid in every respect. One of the best, to be sure, but lets be honest. Anytime a reviewer uses the word 'fine' in his description of a performance, it is guaranteed that you can do better. It's like an attractive woman referring to a man as 'nice'. Sure, he may get to first base with her, but he'll never score.
Stephen Kovacevich, on the other hand, 'scores' big time with some of the most impassioned, hair raising, nail biting, edge-of-your-seat performances in the annals of the recording age.
Believe me, I do not exagerrate. My collection includes multiple recording of every work Beethoven wrote in his lifetime, and I count the Kovacevich piano sonatas at the very top of that oft-listened to heap of disks.
Unfortunately, I do not find Kovacevich's other recordings nearly as convincing as his Beethoven. In a sense, he is to Beethoven what Glenn Gould is to Bach, humming and all.
Make it your mission in life to acquire this set.
Enjoy.

Average customer rating:

Beautifully musical
The earlier the composition the better the playing
why!?
Elevator Music
Richard Goode Plays Beethoven Sonatas

Beethoven: The Complete Sonatas
Ludwig van Beethoven , and Richard Goode
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005J2D
Release Date: 1993-10-05

Tracks:

Allegro
Adagio
Menuetto: Allegretto
Prestissimo
Allegro Vivace
Largo appassionato
Scherzo: Allegretto
Grazioso
Allegro con brio
Adagio
Scherzo And Trio: Allegro
Assai Allegro

Tracks:

Allegro molto e con brio
Adagio Molto
Finale: Prestissimo
Allegro
Allegretto
Presto
Presto
Largo e mesto
Menuetto: Allegro
Rondo: Allegro

Tracks:

Allegro molto e con brio
Largo, con grand' espressione
Allegro
Rondo: Poco allegretto e grazioso
Allegro
Allegretto
Rondo: Allegro comodo
Grave, Molto allegro e con brio
Adagio cantabile
Rondo: Allegro

Tracks:

Allegro
Andante
Scherzo: Assai allegro
Allegro con brio
Adagio con molto espressione
Menuetto
Rondo: Allegretto
Andante con Variazioni
Scherzo: Allegro molto
Marcia funebre (Sulla morte d'un Eroe)
Allegro

Tracks:

Andante, Allegro, Andante
Allegro molto vivace
Adagio con espressione
Allegro vivace
Adagio sostenuto
Allegretto
Presto agitato
Allegro
Andante
Scherzo: Allegro vivace
Rondo: Allegro ma non troppo

Tracks:

Allegro vivace
Adagio grazioso
Rondo: Allegretto
Largo, Allegretto, Allegro
Adagio
Allegretto
Allegro
Scherzo: Allegretto vivace
Menuetto: Moderato e grazioso
Presto con fuoco

Tracks:

Allegro con brio
Introduzione: Adagio molto
Rondo: Allegretto moderato
In tempo d'un Menuetto
Allegretto
Allegro assai
Andante con moto
Allegro non troppo

Tracks:

Andante
Rondo: Allegro
Allegro ma non troppo
Tempo di Menuetto
Adagio cantabile; Allegro ma non troppo
Allegro vivace
Presto alla tedesca
Andante
Vivace
Adagio: Allegro (Les Adieux)
Andante espressivo (L'Absence)
Vivacissimamente (Le Retour)
Vivaciously And With Feeling And Expression Throughout
Not Too Quickly And Very Songfully

Tracks:

Somewhat Lively And With Deepest Feeling
Lively. March Tempo
Slow And Yearning; Tempo Of The First movement; Swiftly, But Not Too, And With Determination
Allegro
Scherzo: Assai vivace
Adagio sostenuto
Largo; Fuga; Allegro risoluto

Tracks:

Vivace, ma non troppo, Adagio espressivo
Prestissimo
Tema; Molto cantabile & espressivo; Variazioni I-VI
Moderato cantabile, molto espressivo
Allego molto
Adagio ma non troppo; Arioso dolente; Fuga; Allegro, ma non troppo; L'istesso tempo di Arioso; L'inversione della Fuga
Maestoso, Allegro con brio ed appassionato
Arietta; Adagio molto semplice e cantabile

Amazon.com essential recording

It's interesting that the great Beethoven sonata cycles are seldom the ones by the big-name virtuosos. Horowitz never attempted one. Neither did Rubinstein. Ashkenazy recorded them all, but with only partial success. Richter never managed all 32 works at one time, and Gilels died before completing his cycle. The most successful complete recordings--Schnabel, Kempff, Arrau, and Backhaus--are all by pianists with a solidly intellectual mindset, however powerful their technique. Goode joins this select company, turning in performances of uncompromising integrity and musical strength. Of course, his reputation as a musician's musician precedes him: here is a player sensitive to Beethoven's every nuance, presenting the composers thoughts with exemplary clarity and taste. This is the the Beethoven cycle for the '90s. --David Hurwitz

Customer Reviews:

Beautifully musical.......2007-05-04

I have been thoroughly enjoying Goode's recordings, not because they are the most precise or powerful of the recordings (Perahia and Gilels are in my opinion the real stand-outs under those criteria), but rather because they are beautifully musical. Most of the pianists who have published recordings of Beethoven's piano sonatas are technically proficient enough to do a passable job, but not all of the recordings are actually interesting to listen to. From this perspective, Goode's recordings are among my favorite.

The earlier the composition the better the playing.......2007-04-25

Richard Goode's Beethoven sonata traversal is impressive, no doubt about that. His technique is clean and his attention to dynamics and other score markings is impeccable. Goode emphasizes the classicism of the composition, and to the extent that the sonatas are strictly classical (100% correspondence through #21, opus 53, the "Waldstein")

Oddly, perhaps, I listened to this complete sonata set in reverse, starting with opus 111 and ending with opus 2. This way of hearing the evolution of the sonatas in reverse gave me a certain perspective on the issue of classical versus nonclassical (Romantic, content no longer matched equally with form) that sort of jumped out at me. As structures and compositional methods simplified (in backwards time) the essence of Beethoven's thinking became more clear, making the earliest sonatas seem more powerful and intense than they usually tend to be. (Or maybe it is Goode's playing of them, after all.)

The three sonatas that make up opus 2 (f minor, A major, C major) have probably never been played or thought through so well as in this set. The excellence continues unmitigated through sonata #21 (the "Waldstein"). In fact, Goode's rendering of the "Waldstein" is as good as it gets and, as it were, knocked my socks clean off technically (blazing speed with clarity) and interpretively. Other great Beethoven players such as Rudolf Serkin, Kempff, Arrau, and Barenboim may bring this or that in varying degrees to the table, but none has any overall advantage over Goode for sonatas #1 through #21. Then, to my mind, things change. The playing remains clean and highly literal to the end of the cycle but the nobility and imagination required to present the later sonatas is lacking. Goode made me wonder why Beethoven wrote #29 (the "Hammerklavier"), for example, and left me wanting substance in opera 109, 110, and 111.

However, there are precious few complete sets of these benchmarks of Western cultural achievement, so one should not be overly harsh with any that are for the most part successful, as this set by Goode undoubtedly is. One other thing: The recorded sound is sub-par, somewhat muffled and lacking presence. Once can train oneself to ignore this but why should one have to when alternatives with outstanding recorded sound exist. Goode should have been better served in this regard.

Bottom line: Serious Beethoven people should experience this set. Those who only buy one set might consider Kempff or Barenboim instead.

why!?.......2007-03-08

I can't understand why all the fuss about this item. The authors of the penguin guide accorded such distinctions to Goode's recording of Beethoven's sonatas that I decided to give it a listen and finally discover what new ground it was breaking. As I turned off my stereo and absent-mindedly put the cds back in their beautiful cases I began to feel that disturbing anguish which often arises from having spent too much money on a basically dull and disappointing item. Germans poetically call it Gewissensbisse, literally ''bites on the counsciousness''; we call it ''remorse''. Goode adds nothing new to our understanding of Beethoven's music, nor does he disclose new aspects of the sonatas which could have been overlooked by those who trod this path before him. If a pianist is intent on treading a path which has already been followed thousands of times before, he's expected at least to justify why he thinks his particular take on the work in question should be heard by the average listener who's already acquainted with it through the recordings of eminent figures like Kempff, Ashkenazy, Barenboim, Arrau and many others, and why a newcomer to Beethoven's music should buy his performance rather than the hundreds of others that are already available on the market. To sum up, he's expected to provide something different and relevant. Goode unfortunately fails to meet all these conditions.

Elevator Music.......2006-12-07

I tried to like this set- I really did. This was my first set of Beethoven's complete sonata's - it got great reviews and I was excited to get it but try as I might I had trouble enjoying it. Where was the passion, the dynamism, the creativity I associated with Beethoven? It was work getting through it - the music seemed dull, lacking in profundity and spontaneity. There was a kind of elegaic beauty to it to be sure but Goode seemed to me to be connecting with this music as from a great distance, as if it was a story he was telling about long, long ago.

Then I picked up the Gulda set and there it was; the power, the dyanmism, the felicity, poetry and spontaneity of Beethoven. I tried Goode again, I thought maybe I had missed something but no, while it was pretty and elegant, the magic of Beethoven was gone again. For me this was homogenized Beethoven.

Richard Goode Plays Beethoven Sonatas.......2006-11-04

Richard Goode Plays Beethoven's Thirty-two Sonatas for Piano

I was looking through my mementos for the concert programs they used to have in St Paul's and Trinity Church down on Wall Street during lunch hours. For two days a week back in the 1970's, `80's and 90's when I was on Wall Street these sister Episcopalian churches would have noonday concerts. In fact, that's what they were called, Noonday Concerts. I remember that I had not previously heard Richard Goode play, but I had heard of him, and when Trinity Church announced that he was to play some Beethoven sonatas at the Noonday Concerts I thought I'd go hear him. Back in those days these concerts were free, and they frequently had distinguished, well-known artists . I was with my first wife when I first went to hear him. I mention this because it wasn't until years later, when I was with my present wife, that I discovered that my teacher, John Kamitsuka, was a student of Goode's.

The first time I saw RG, he came out of the left side of the Trinity Church altar at a fairly brisk pace, with a shy but friendly smile on his face, went to the piano, took a short bow, looked once around the audience, and promptly seated himself at the piano. He took some time to adjust the bench and then rubbed his hands together, looked up briefly, and then he launched into the Beethoven. More than launched, actually, he recreated the Beethoven. I didn't know it at the time, but he was in the midst of a ten year project to record all thirty-two sonatas and he was playing three or four a year in these concerts. I don't remember what he played that day or on the two or three more occasions I had over the next few years to hear him play, but I was so pleased with his performance that I tried not to miss any opportunity to hear him play.

I had bought this set some years ago and have had the occasion recently to study it. (I'm on this jag to start enjoying all the good stuff I have while I'm still kicking.) After listening to the set a few times, I felt that I had this bag of jewels and I could put my hand in and out would come this jewel or that jewel and each jewel was as beautiful as the others. In this set, there's not a bad jewel in the bunch.

So now, quoth he, what about this set? You will find that Goode has an impressive dynamic range and that the architecture of his interpretations is very cohesive: he's put a lot of thought into structure and the results are very convincing. His playing is pellucid, with hardly any blurring due to pedal. When he does blur, it's clearly for effect. He has a magnificent technique and he plays with the energetic forthrightness that is required by the music, but his playing is not strident. He prefers subtle coloring effects and precise rhythms to express the deeper dimensions of these pieces. One thing you will notice is that his hands are absolutely independent. For example, he does this trick throughout: he'll begin a crescendo, but the right hand will `crescend' sooner than the left- and the left may actually get louder and softer while the right hand continues. It makes the playing very colorful.

And now some specifics: (things that I especially like)
Sonata #2, third mvt, Scherzo
#5, third mvt, Finale (here is one place that I really get the sense of the terrific architectural coherence of his playing)
#6, third mvt, Presto: fun
#'s 10,11, 12- three gems.
#10, first mvt, Allegro
#10, third mvt, Allegro assai: perfection.
#12, fourth mvt, Allegro
#13, second mvt, Allegro molto vivace: specifically timing/rhythm
#15
#18, first mvt, Allegro
#21, last two mvts, very contemplative interpretations, different. I think I prefer Schnabel here, especially last mvt.
#26, Das Lebwohl, Les Adieux. I think this is my favorite performance of this sonata, especially the last mvt. RG brings out all the joy that Beethoven must have felt on the return of his friend and patron.
#29, fourth mvt, Fuga. Very powerful reading. (Aside: compare the music here with the Grosse Fuge, Op 133 String quartet.)
#30, another great reading. I especially like the third mvt, variations #'s II & IV
#31 L'inversione della fuga: very powerful reading

Back in the days when I was working with Kamitsuka, I asked him who his favorite living pianists were. He said Martha Argerich was `pretty good'. That's about as high a compliment as he was willing to make for any living pianist. (He had a lot to say about bad pianists.) Then some time later RG came out with a Brahms CD. I said to Kamitsuka, `You know, John, Richard Goode just came out with a cd of Brahms late works.' He looked at me briefly and then looked away out the window that had a view of the Palisades in New Jersey and said, `Oh yeah? Hmm... it must be pretty good.'

So, hope you enjoy these as much as I have.

Casals Edition - Beethoven: Complete Cello Sonatas

Average customer rating:

Spectacular recording of spectacular music
Disappointing Sound Quality
Very touching performance.
Casals and Serkin play Beethoven for the Gods
Deeply-probing classic interpretations (but not *quite* complete)

Casals Edition - Beethoven: Complete Cello Sonatas

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | 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
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ASIN: B0000029L7
Release Date: 1994-02-22

Tracks:

I. Adagio Sostenuto - Allegro-Adagio-Presto
II. Rondo. Allegro Vivace
I. Adagio Sostenuto E Espressivo/Allegro Molto Piu Tosto Presto
II. Rondo. Allegro
I. Andante - Allegro Vivace
II. Adagio - Allegro Vivace

Tracks:

I. Allegro Ma Non Troppo
II. Scherzo. Allegro Molto
III. Adagio Cantabile - Allegro Vivace
I. Allegro Con Brio
II. Adagio Con Molto Sentimento D'affetto
III. Allegro - Allegro Fugato
7 Variations On/Uber/Sur 'Bei Mannern, Welche Liebe Fuhlen' From/Aus/De Mozart's 'Die Zauberflote'/ < > WoO.46
12 Variations On/Uber/Sur 'Ein Madchen Oder Weibchen' From/Aus/De Mozart's 'Die Zauberflote'/ < > WoO.66

Customer Reviews:

Spectacular recording of spectacular music.......2007-06-08

I didn't even know that Beethoven wrote sonatas for cello and piano until I came across this recording; both the music and the musicians are spectacularly good. Get it today!

Disappointing Sound Quality.......2007-01-09

I have heard of these sonatas for years, but had never heard them. I chose the Casals/Serkin set because of my familiarity with other performances by him. Although Casals and Serkin are unassailable as interpreters and performers, I found this set disappointing because of what I can only describe as ugly sounds - there is a harshness to the sound quality, at least in places, which I think is probably to be ascribed to the age of the recording rather than the performance. Still, I found it jarring, and it marred my enjoyment.

Very touching performance. .......2007-01-03

This album is one of the most beautiful music experiences I had in many years; I'm amateur listener but I can say that both interpreters are playing these compositions with such a passion and love that is probably not too common these days anymore. Originally I felt that the technical quality of this mono recording is bit distracting, but after a few weeks of listening this album over and over I don't mind the sound at all - the quality of music makes up for it, and I actually like the recording as it is presented to us, wouldn't want any change. I very much recommend this album. I'm planning to buy another copy as a gift for someone close.

Casals and Serkin play Beethoven for the Gods .......2006-03-29

This set is desert island gorgeous. Playing with passion, elegance, at times abandon, the performers are completely in tune with each other. This is elevated chamber music playing of an aristocratic order.

You can hear Casals grunting and moaning with pleasure through the performances - it sounds as though he's making love to his cello. Serkin's playing is simply beautiful - lucid and warm with some of the best trills I've heard - his playing in opus 60 is thrilling. Good clear sound allows you to listen unencumbered by distraction to this spectacular music-making.

The Schnabel - Fournier set of these pieces is quite wonderful, too - spunky and sparkling with Schnabel's great paced and joyous playing. The Schnabel virile luminosity is all there, partnered by Fournier's richly expressive and dignified cello. While it sounds like the historic performance it is, I rarely mind or notice. Art is what counts and the beauty of these performances shines through with radiant surrender. Who cares about a little interference - it adds to the wonder of the experience, knowing that this was recorded almost 60 years ago and we are priviliged to hear it today....

The dvd with Rostropovich and Richter playing Beethoven's cello sonatas is also splendid - Rostropovich is a marvelous musician to watch - he's in an altered state and quite uninhibited about his relationship with his instrument. Yes there are some incorrect notes played, but who cares? Rostropovich is demonically possessed at times and it's fascinating to watch his transformations and responses as he literally attacks his cello, especially in the rondo of opus 5 no. 2. Richter is a large man nearly bursting out of his tails. With his enormous hands he looks more like he could be unloading freight down at the docks, yet he plays these sonatas with such refined manners and sensitivity that it's heart rending to see this big, uncomfortable man playing such magnificent music.

Deeply-probing classic interpretations (but not *quite* complete).......2005-10-25

I was recently listening to this set and the new Schiff-Perenyi recordings on ECM for the purpose of comparing them and writing a review about my impressions. "Compare and contrast the sets, class, and write a review for Monday. Minimum of five pages, single-spaced, typed. --And don't ask your parents for help, because I can always tell."

Well, I was weird as a school kid, because I always loved assignments like that and never was inclined to ask my parents or anyone else. Not that we ever got to write about Beethoven cello sonatas--usually it was on something boring like Beowulf. So I've been comparing Serkin and Casals to Schiff-Perenyi, and, in the interest of efficiency, was going to write a review dealing with both sets and paste two copies on Amazon, one under this recording and one under the Schiff-Perenyi disc, thereby scoring two reviews with one effort. Then I discovered that apparently the ECM isn't available in America--or at least not through Amazon's American website. (It is on their UK page.) So much for my attempt at efficiency. At any rate, you can consider this a review of both recordings, and maybe I'll even mosey on over to the UK side and post this review with them.

Anyway, after listening to the two sets, it's clear the Serkin-Casals stands head and shoulders above Schiff-Perenyi. What's frustrating is trying to explain why the latter, despite immacualte playing (or maybe because of it?) is devoid of meaning, while the former, despite finger-slips and lapses of intonation (as well as more cautious tempi and less free abandon) displays a deep understanding of the works' structures and nuances. Take, for just one small example, the second movement of Op.5, No. 2: in the hands of less skilled interpreters, the waltz seems to be repetitious and too long, distended from the rest of the work. I always thought it was that way, and figured Beethoven just hadn't really mastered proportion yet.

Well, perhaps he hadn't, but Casals and Serkin make us believe he has. They find infinite variety in the theme, so that it doesn't sound redundant as it keeps returning. And I don't just mean they vary the dynamics or insert a pause here or there; they find just the proper weight for the pieces as it morphs from section to section. No one else has convinced me so much in this music, not even Heidsieck-Tortelier (a set I am very enthusiastic about nonetheless).

Some other moments are just unforgettable. Listen to the opening of Op. 102, No. 1: does anyone play music this way anymore? Pay attention to the way Serkin answers Casals in the introduction's main phrase. Then listen to the low tremolos in Serkin's left hand, with Casals the background, just before the main theme begins. It's positively heartbreaking! After a plaintive introduction like that, it seems logical to me that the main theme should have to *fight* for its very existence when it appears, and this is just how Casals and Serkin take it. (Listen to the dynamic interplay!) By contrast, Schiff-Perenyi play it relatively straight-laced, without much dynamics, and don't convince me they have anything to say; their mission seems to be just to play prettily. ("For extra credit class, contrast their handling of the last murmuring bars of the introduction with Serkin-Casals. Which one makes your hair stand up on your back?") When the latter two get to the first movement's second theme, that struggle from the terse introduction is absent, and the whole dramatic "point" of the piece is lost, to my ears. These musicians are more convincing in the facile works, such as the Op. 66 Magic Flute Variations--they're pretty, sweet-sounding, and not as deep as the triple-digit opus works.

I think the best way to put it is to say that I feel that Schiff-Perenyi have thought about the notes, and play them perfectly. They can play rings around Casals and Serkin, and generally do. But Casals and Serkin spent their study time thinking about the music, what it meant, why Beethoven started this one with a brooding introduction but not that one; how the absense of such an introduction changes the qualities of the movement's secondary theme, when the works get "dark" and when they get "light," and so on. So many of today's musicians, unfortunately, see the little squiggles on paper as technical obstacles to be hurdled; Casals and Serkin saw them as clues to divine what was inside the composer's head. And if they didn't always clear the hurdle--and sometimes they don't--so what? You understood what they meant.

I guess in the interest of full disclosure, I should mention that while the Schiff-Perenyi are in immaculate sound, the Serkin-Casals recordings were made in the early 50s and are mono. This shouldn't stop anyone from buying them, but if you must have everything in your collection writ in large DDD letters, you should look elsewhere. And it will be your loss.

My only slight complaint is the titling of the Casals and Serkin set "The Complete Edition." Not quite. Missing is the little-known sonata in F Major, Op. 17, a transcription, as well as a theme and variations on Handel's Judas Maccabaus, WoO 45. These aren't major omissions that should dissuade you from buying the set, but it's not "complete," either. But even my beloved Heidsieck-Tortelier lacks the Op 17 sonata. Only the ECM has every last scraping of Beethoven's cello music.

Okay, that's my comparative essay. Hope you give me an A.

Track Listings:

Track Listings

track listings

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Mixed Bag

1. Sonate In C Major, Kv 279 (189d) - 1. Allegro
2. Sonate In C Major, Kv 279 (189d) - 2. Andante
3. Sonate In C Major, Kv 279 (189d) - 3. Allegro
4. Sonate In F Major, Kv 280 (189e) - 1. Allegro Assai
5. Sonate In F Major, Kv 280 (189e) - 2. Adagio
6. Sonate In F Major, Kv 280 (189e) - 3. Presto
7. Sonate In B Flat Major, Kv 281 (189f) - 1. Allegro
8. Sonate In B Flat Major, Kv 281 (189f) - 2. Andante Amoroso
9. Sonate In B Flat Major, Kv 281 (189f) - 3. Rondeau. Allegor
10. Sonate In E Flat Major, Kv 282 (189g) - 1. Adagio
11. Sonate In E Flat Major, Kv 282 (189g) - 2. Menuetto I Ii
12. Sonate In E Flat Major, Kv 282 (189g) - 3. Allegro
13. Sonate In G Major, Kv 283 (189h) - 1. Allegro
14. Sonate In G Major, Kv 283 (189h) - 2. Andante
15. Sonate In G Major, Kv 283 (189h) - 3. Presto
16. Sonate In D Major, Kv 284 (205b) -DÜRnitz-Sonate- - 1. Allegro
17. Sonate In D Major, Kv 284 (205b) -DÜRnitz-Sonate- - 2. Rondeau En Polonaise. Andante
18. Sonate In D Major, Kv 284 (205b) -DÜRnitz-Sonate- - 3. Andante
19. Sonate In C Major, Kv 309 (284b) - 1. Allegro Con Spirito
20. Sonate In C Major, Kv 309 (284b) - 2. Andante Un Poco Adagio