Complete Violin Sonatas

1. Sonata for violin & piano in D major, Op. 11/2
Composed by Paul Hindemith
with Roland Pontinen , Ulf Wallin

2. Sonata for violin & piano in E flat major, Op. 11/1
Composed by Paul Hindemith
with Roland Pontinen , Ulf Wallin

3. Sonata for violin & piano in E flat major, Op. 11/1
Composed by Paul Hindemith
with Roland Pontinen , Ulf Wallin

4. Sonata for violin & piano in E major
Composed by Paul Hindemith
with Roland Pontinen , Ulf Wallin

5. Sonata for violin & piano in C major
Composed by Paul Hindemith
with Roland Pontinen , Ulf Wallin

Complete Violin Sonatas,Hindemith,Wallin,Pontinen,Bis,Chamber Music & Recitals,Classical

Average customer rating: Grumiaux and Bach My old favourite Absolutely Essential A somewhat clinical, "perfect" Bach I remember....

Bach: Complete Sonatas and Partitas for Solo Violin Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Grumiaux, Arthur | ( G ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Bach, Johann Sebastian | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Grumiaux, Arthur | ( G ) | Performers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Bach: Sonatas & Partitas for Solo Violin Complete Violin Sonatas / Grumiaux, Jaccottet, Mermoud Bach: Partitas Bach: Sonatas for Unaccompanied Violin Bach: 6 Suiten für Violoncello solo ASIN: B00000417N Release Date: 1994-02-15

Tracks:

1. Sonata No. 1 in G minor, BWV 1001: Adagio
2. Sonata No. 1 in G minor, BWV 1001: Fuga (Allegro)
3. Sonata No. 1 in G minor, BWV 1001: Siciliana
4. Sonata No. 1 in G minor, BWV 1001: Presto
5. Partita No. 1 in B minor, BWV 1002: Allemanda
6. Partita No. 1 in B minor, BWV 1002: Double
7. Partita No. 1 in B minor, BWV 1002: Corrente
8. Partita No. 1 in B minor, BWV 1002: Double (Presto)
9. Partita No. 1 in B minor, BWV 1002: Sarabande
10. Partita No. 1 in B minor, BWV 1002: Double
11. Partita No. 1 in B minor, BWV 1002: Tempo di Borea
12. Double
13. Sonata No. 2 in A minor, BWV 1003: Grave
14. Sonata No. 2 in A minor, BWV 1003: Fuga
15. Sonata No. 2 in A minor, BWV 1003: Andante
16. Sonata No. 2 in A minor, BWV 1003: Allegro

Tracks:

1. Partita No. 2 in D minor, BWV 1004: Allamanda
2. Partita No. 2 in D minor, BWV 1004: Corrente
3. Partita No. 2 in D minor, BWV 1004: Sarabande
4. Partita No. 2 in D minor, BWV 1004: Giga
5. Partita No. 2 in D minor, BWV 1004: Ciaccona
6. Sonata No. 3 in C, BWV 1005: Adagio
7. Sonata No. 3 in C, BWV 1005: Fuga
8. Sonata No. 3 in C, BWV 1005: Largo
9. Sonata No. 3 in C, BWV 1005: Allegro Assai
10. Partita No. 3 in E, BWV 1006: Preludio
11. Partita No. 3 in E, BWV 1006: Loure
12. Partita No. 3 in E, BWV 1006: Gavotte en Rondeau
13. Partita No. 3 in E, BWV 1006: Menuet I-II
14. Partita No. 3 in E, BWV 1006: Bourre'e
15. Partita No. 3 in E, BWV 1006: Gigue

Amazon.com essential recording

Arthur Grumiaux was among the most elegant and refined violinists who ever recorded. This doesn't preclude his playing the famous Chaconne with lots of power, which he does. But it means hearing Bach with all technical difficulties minimized to give you a clear view of the music. Sometimes, as in Joseph Szigeti's late recordings (Vanguard Classics OVC 8021/2), there is a sense of struggle between the violin and the music that for more dramatic Bach. Grumiaux allows you to hear everything Bach put into the music, and it all sounds beautiful. --Leslie Gerber

Customer Reviews:

Grumiaux and Bach.......2006-08-31

I originally ordered Heifetz playing Bach's sonatas and partitas because I was learning the Chaconne, but because it was going to take a month to arrive, I ordered Grumiaux in the meantime. I have been so pleased with Grumiaux' smooth tone, his vibrato (never too much), his flawless chords, and his near perfect intonation, that although my Heifetz recording has since arrived, I still listen to Grumiaux much more.

My old favourite.......2006-06-28

These works are, for me, the highest possible achievement of violin music, and rank alongside the Cello Suites and the Well-Tempered Clavier as Bach's most meditative, introspective and spiritually profound works. They take you through a whole range of emotions and moods, and probably not coincidentally, like the Cello Suites, they end on a bright note, almost like the light of heaven shining down on you. Listening to the fugal movements is like being in a private cathedral of sound. And I say this without being a religious person in any way - this music is more personally spiritual, without being necessarily 'religious', like so many of Bach's vocal works.

I first heard these works performed by Menuhin (like Grumiaux, a student of Enescu), and though I retain a fondness for his recordings, I think Grumiaux's version is, all around, the best. I do agree with some of the other reviewers that Milstein can give a bit more passion, and I particularly like how the lower parts of the counterpoint are often more audible in Milstein (for instance, in the beginning bars of the D-Major section of the Chaconne - which is less accented in the Grumiaux), but I personally don't like Milstein's steely tone that much, and Bach sometimes sounds too much like hard work in his versions. In contrast, Grumiaux's tone is much warmer, I find, though he can put on the power very well whenever it's needed, and his playing is so effortless, one is able to really appreciate the beauty and profundity of Bach's works.

I'm very partial to period interpretations normally, and having now acquired Rachel Podger's recordings, I prefer those in many aspects; but on the whole, I find Grumiaux better than the other 'authentic' performance I've heard, that of Kuijken. Grumiaux IS old-fashioned, but he avoids the excesses of most of the others of his generation (even Menuhin takes some movements - like the third of the G-Minor - so slowly, it's impossible to remember it's a dance-movement!), and plays something that seems, to me, to be very much something in the spirit of Bach, even if not entirely 'authentic'. As Manze has said, there's nothing intrinsically wrong with playing Bach on modern instruments - the music is truly universal! Even though on a few points here and there I do prefer other recordings, overall, I find Grumiaux's is simply the best - and I think definitely the best introduction to this awe-inspiring music.

Absolutely Essential.......2006-01-24

This is one of those recordings that belongs in everyone's classical collection from the beginning. It is without a doubt one of the most heartfelt, achingly beautiful, and totally masterful recordings ever made. There is simply nothing more to say.

Anyone who has it knows- and everyone who doesn't needs to.

A somewhat clinical, "perfect" Bach.......2005-05-17

These sonatas and partitas are among my favorite Bach works, alongside the Goldberg Variations. I've heard most of the great recordings of these suites by the great violinists, including this version by Grumiaux. My favorite rendition remains the 50s EMI survey by Nathan Milstein (not the DG version from the 1970s).

Now, Grumiaux stands tallest with me for his recordings of the Bach violin concertos and the famous double violin concerto, as well as his sublime version of the six violin/harpsichord sonatas (this is my favorite Grumiaux recording, and a "desert island recording" for me...an absolute must-have for anyone). For those, Grumiaux is unmatched in my opinion. But, in those cases, he has accompaniment that he must interact with. In these unaccompanied violin works, he has a subtle detachment. For an example, listen to the opening Grave movement from Sonata 2, and especially the Andante (movement 3) of Sonata 2. Grumiaux's technique is flawless, and he is almost at that magic threshold. Then, listen to Milstein play that Andante from the EMI 50s recording. You will hear exactly what I am talking about, something a bit too ineffable to put into words, but something you can hear. Given the fact that Grumiaux has recorded my favorite versions of Bach's other violin works, as I've mentioned above, this criticism was difficult for me to make.

I'm not suggesting a bombastic, romanticized account of these suites. Milstein finds the perfect balance (in his 50s version) between reverence of Bach and technical mastery. You feel every note of the music as it comes from Bach, and the depth of insight is extraordinary. Grumiaux captured that with his other recordings that I've mentioned above, but in these solo suites, there is a depth of feeling that is lacking. He's obviously more concerned with perfect form and cleanliness of line than he is with probing the music for its innermost secrets. Milstein achieves this, but on the EMI set from the 1950s, not the DG set from the 70s, where I think that Milstein also fell short.

It IS possible to have perfect form and cleanliness of line without sacrificing feeling. Milstein found that magic compromise in the 1950s on EMI. The words I always use after hearing the 50s Milstein are "intimacy" and "insight." His insights are so profound. Grumiaux's survey has impeccable sound quality, played on a gorgeous instrument, with flawless technique in the elegant style. Still, it doesn't get to the heart of this music. It's "perfect," but it doesn't speak to me.

I remember...........2005-05-16

One of those CDs you grow up listening to -- introducing one's soul to the beauty that is Bach. I remember buying this CD on a whim since it was so cheap the summer before heading to High School at a Sam Goodies -- it totally just restructured everything I knew about music. There is nothing like this recording out there. Seriously, buy it for your kids, and introduce them to "true love". It is what anyone if they listen carefully to this CD will realize is the essence to Arthur's playing.

Average customer rating: Simply astounding

Handel: Complete Violin Sonatas Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Manze, Andrew | ( M ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Imports | Stores | Music $6.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Handel, George Frideric | ( H ) | Composers, A-Z | Classical Music Blowout | Stores | Music Manze, Andrew | ( M ) | Performers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Concert for the Prince of Poland Bach: Solo & Double Violin Concertos /Manze * Podger * AAM * Manze Telemann: The Six Paris Quartets Violin Sonatas Op 5 Vivaldi: Concertos for the Emperor ASIN: B0006Z2LN8 Release Date: 2005-01-11

Customer Reviews:

Simply astounding.......2006-11-06

It is not without a sense of awe that I write these words. I believe Mr. Handel himself, had he been alive to hear this recording, would have been thoroughly delighted and not perhaps devoid of a tear or two.

The grace and elegance with which these endearing sonatas are played is simply astounding. Both Manze and Egarr ought to be given knighthoods for this CD. It just has no peers. I find this supremely enjoyable CD to be an absolutely essential part of any serious baroque music fan's collection. The liner notes provide great background information of each of the sonatas, even those of less than certain authenticity, with a meticulousness that could concieveably allow for acceptable academic referencing, which is saying something!

With a careful attention to detail, the performers have given us a brilliant interpretation (I am willing to say the BEST I have ever heard, as obsequious as that may sound), of these works, in what must be considered a benchmark of high standards. Five out of five, for the purchase of the decade.

Average customer rating: Exceptional performances

Beethoven: Complete Violin Sonatas Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Brilliant Classics | Amazon.com Label Stores | Stores | Music Similar Items: Piano Quintet in F Min / Complete String Quartets (1, 2, 3) Clara Haskil: Philips Recordings, 1951-1960 Béla Bartók: Concerto for Orchestra; Dance Suite; Music for Strings, Percussion and Celeste Brahms: Violin Concerto and Double Concerto [SA-CD - CD compatible] Beethoven: Piano Trios, Vol. 1; Itzhak Perlman; Vladimir Ashkenazy; Lynn Harrell ASIN: B000NJM6KU Release Date: 2007-04-10

Tracks:

1. Allegro Con Brio
2. Tema Con Variazioni (Andante Con Moto)
3. Rondo, Allegro
4. Allegro Vivace
5. Andante Piu Tosto Allegretto
6. Allegretto Piacevole
7. Allegro Con Spirito
8. Adagio Con Molt'espressione
9. Rondo, Allegro Molto
10. Presto
11. Andante Scherzoso, Piu Allegretto
12. Allegro Molto

Tracks:

1. Allegro
2. Adagio Molto Espressivo
3. Scherzo, Allegro Molto
4. Rondo, Allegretto Ma Non Troppo
5. Allegro
6. Adagio
7. Allegretto Con Variazioni
8. Allegro Con Brio
9. Adagio Cantabile
10. Scherzo, Allegro
11. Finale, Allegro

Tracks:

1. Allegro Assai
2. Tempo Di Menuetto
3. Allegro Vivace
4. Adagio Sostenuto-presto
5. Andante Con Variazioni
6. Finale, Presto
7. Allegro Moderato
8. Adagio Espressivo
9. Scherzo, Allegro
10. Poco Allegretto

Customer Reviews:

Exceptional performances.......2007-05-11

This bargain set from Brilliant Classics features a legendary recording session: Arthur Grumiaux and Clara Haskil performing the complete Beethoven violin sonatas.

These sessions where originally recorded (in mono) and released by Philips in 1956/57, and it has been available on CD from that label before (nla). But a new release on CD has recently been announced from Decca Music Group (to which Philips records now belongs). However, the present incarnation is a fine opportunity to grab these classic performances at a bargain price.

The performances are impeccable - Grumiaux and Haskil are both in top form, and together they are an ideal match: Grumiaux' glowing tone and masterly understanding combined with Haskil's sensitive brilliance.

Now, of course, we find this set in a crowded field with many excellent, classic recordings, for example Ashkenazy/Perlman on Decca, Oistrakh/Oborin on Philips, and Schneiderhan/Kempff on DG. Collectors may need all these classic sets (and possibly some other sets as well). But the classic Haskil/Grumiaux set is a serious contender to any, with most enjoyable and moving performances at a bargain price.

Highly recommended!

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 All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music Variations | Variations | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Cello | Strings | Instruments | Classical | Styles | Music Arrau, Claudio | ( A ) | Featured Performers, A-Z | Classical | Styles | Music 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:

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

Tracks:

1. Piano Sonata No.3 In C, Op.2 No.3: 1. Allegro con brio
2. Piano Sonata No.3 In C, Op.2 No.3: 2. Adagio
3. Piano Sonata No.3 In C, Op.2 No.3: 3. Scherzo. Allegro
4. Piano Sonata No.3 In C, Op.2 No.3: 4. Allegro assai
5. Piano Sonata No.4 In E Flat, Op.7: 1. Allegro molto e con brio
6. Piano Sonata No.4 In E Flat, Op.7: 2. Largo, con gran espressione
7. Piano Sonata No.4 In E Flat, Op.7: 3. Allegro
8. Piano Sonata No.4 In E Flat, Op.7: 4. Rondo. Poco allegretto e grazioso
9. 6 Piano Veriations In F On An Original Theme, Op.34

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

1. Piano Sonata No.16 In G, Op.31 No.1: 1. Allegro vivace
2. Piano Sonata No.16 In G, Op.31 No.1: 2. Adagio grazioso
3. Piano Sonata No.16 In G, Op.31 No.1: 3. Rondo. Allegretto
4. Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 1. Largo - Allegro
5. Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 2. Adagio
6. Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 3. Allegretto
7. Piano Sonata No.18 In E Flat, Op.31 No.3: 1. Allegro
8. Piano Sonata No.18 In E Flat, Op.31 No.3: 2. Scherzo. Alllegretto vivace
9. Piano Sonata No.18 In E Flat, Op.31 No.3: 3. Menuetto. Moderato e grazioso
10. Piano Sonata No.18 In E Flat, Op.31 No.3: 4. Presto con fuoco

Tracks:

1. Piano Sonata No.21 In C, Op.53 'Waldstein': 1. Allegro con brio
2. Piano Sonata No.21 In C, Op.53 'Waldstein': 2. Introduzione. Adagio molto - Rondo. Allegretto moderato - Prestissimo
3. 15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Inroduzione col Basso del Tema. Allegretto vivace
4. 15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Variazioni I-XV
5. 15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Finale. Alla Fuga. Allegro con brio - Andante con moto
6. 32 Piano Variations In C Minor On An Original Theme, WoO 80
7. Rondo In G, Op.51 No.2

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

1. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Tema : Vivace - Variation I. Alla marcia maestoso
2. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation II Poco allegro
3. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation III L'istesso tempo
4. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IV Un poco piu vivace
5. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation V Allegro vivace
6. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VI Allegro ma non troppo e serioso
7. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VII Un poco piu allegro
8. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VIII Poco vivace
9. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IX Allegro pesante e risoluto
10. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation X Presto
11. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XI Allegretto
12. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XII Un poco piu moto
13. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIII Vivace
14. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIV Grave e maestoso
15. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XV Presto scherzando
16. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVI Allegro
17. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVII
18. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVIII Poco moderato
19. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIX Presto
20. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XX Andante
21. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXI Allegro con brio - Meno allegro - Tempo I - Meno allegro
22. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXII Allegro molto alla 'Notte giorno faricar' di Mozart
23. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIII Allegro assai
24. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIV Fughetta. Andante
25. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXV Allegro
26. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVI
27. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVII Vivace
28. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVIII Allegro
29. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIX Adagio ma non troppo
30. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXX Andante sempre cantabile
31. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXI Largo, molto espressivo
32. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXII Fuga. Allegro - Poco adagio
33. 33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXIII Tempo di minuetto moderato

Tracks:

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

Tracks:

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

Tracks:

1. Piano Concerto No.5 In E Flat, Op.73 'Emperor': 1. Allegro
2. Piano Concerto No.5 In E Flat, Op.73 'Emperor': 2. Adagio un poco mosso
3. Piano Concerto No.5 In E Flat, Op.73 'Emperor': 3. Rondo. Allegro
4. Triple Concerto For Piano, Violin And Cello In C, Op.56: 1. Allegro
5. Triple Concerto For Piano, Violin And Cello In C, Op.56: 2. Largo
6. 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: Every listen brings a smile Fine Performance of a Great Work Bright, articulate and intelligent The Ideal Version Simply incredible!

Bach: Complete Sonatas & Partitas for Violin Solo Johann Sebastian Bach , and Rachel Podger Manufacturer: Channel Classics Nl ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Imports | Stores | Music Similar Items: Bach: Complete Sonatas for Violin and Obbligato Harpsichord / Pinnock, Podger Bach: Solo & Double Violin Concertos /Manze * Podger * AAM * Manze Vivaldi: La Stravaganza Mozart: Complete Sonatas for Keyboard & Violin, Vol. 3 [Hybrid SACD] J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006 ASIN: B00006JQU1 Release Date: 2002-11-12

Customer Reviews:

Every listen brings a smile.......2007-06-06

Whilst there's no definitive solo violin Bach recording - and there never will be - RP is an absolute must have to anyone wishing to explore the mystics of Bach.

So frequent are the timbre adjustments within each phrase, in every solo - I can't help but wonder how long Rachel pondered how she wanted these recordings to sound - was it years or decades.

Whilst it is true that the baroque violin (equiped with gut strings) provides an unexpected resonance - within a minute, i'd forgotten the different violin sound - and was mesmorised by how easy Rachel makes these solos sound. a beautiful interpretation that one no classical music lover should go without.

Fine Performance of a Great Work.......2007-05-25

There is little I can add to the glowing reviews already posted. I think Rachael Podger a very fine fiddler and I own a number of her recordings.
Here I feel that she plays Bach with love and a deep affection, it is much more than a demonstration of technical ability. I have never been able to get that feeling with Grumiaux's version which I find harsh and mechanical, whereas I find his playing of Mozart, Beethoven and Schubert, in particular their chamber music, excellent. Ms Podger and her baroque violin are superb; 5 stars.

Bright, articulate and intelligent.......2007-02-02

This is a powerful performance. Rachel Podger's sound as recorded with crystalline brilliance here, paints a multi-layered yet clear, colorful and flowing landscape of these beautiful pieces. Her equal attention to the depth and width of her sound as manifested in the care given to every clearly-phrased note to create a cohesive whole, is what I imagine would have made Bach himself stand up and take notice of her intelligent, well-rounded interpretation. Rachel Podger is reminiscent of Glenn Gould in her ability to flesh out Bach's genius with a technique that relies mainly on precision and clarity to create a soulful, playful but knowing sound that is a delight to listen to.

The Ideal Version .......2006-12-17

I have bought a few other versions of the Bach Sonatas and Partitas, including two period-instrument versions, but none has satisfied me as has Rachel Podger's. I am struck first of all by the immense beauty of her 1739 Genoese violin, which is especially mellow and rich in the D and G strings. All the elements of her interpretation - the variety of articulations she employs, her feeling for polyphony and for the logical flow of Bach's ideas - are bathed in a beautiful, sweet, silky tone, free from the astringency of some baroque players; it is almost as if she is the baroque violinist for listeners used to a more "traditional" approach. The startling commendations I had heard about this release ("the finest recordings of these works I've ever heard" - National Public Radio) made me want to order it. I can now say that after a long time searching for the perfect version of unaccompanied Bach, I have finally found it. It is the only version that now sits on my CD shelf.

Simply incredible!.......2006-10-10

Miss Podger is showing her incredible virtuoso here that actually provokes the intellectual depth of JSB's music. Plus, the sound is of premium quality here. Itzhak Perlman will too be amazed if he'd hear this.

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 All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Goode, Richard | ( G ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Similar Items: Richard Goode Performs Mozart Brahms: Works for Solo Piano Richard Goode Plays Brahms Beethoven: The Complete Piano Sonatas; Bagatelles Op. 119, Op. 126 Beethoven - The Complete String Quartets / Alban Berg Quartet ASIN: B000005J2D Release Date: 1993-10-05

Tracks:

1. Allegro
2. Adagio
3. Menuetto: Allegretto
4. Prestissimo
5. Allegro Vivace
6. Largo appassionato
7. Scherzo: Allegretto
8. Grazioso
9. Allegro con brio
10. Adagio
11. Scherzo And Trio: Allegro
12. Assai Allegro

Tracks:

1. Allegro molto e con brio
2. Adagio Molto
3. Finale: Prestissimo
4. Allegro
5. Allegretto
6. Presto
7. Presto
8. Largo e mesto
9. Menuetto: Allegro
10. Rondo: Allegro

Tracks:

1. Allegro molto e con brio
2. Largo, con grand' espressione
3. Allegro
4. Rondo: Poco allegretto e grazioso
5. Allegro
6. Allegretto
7. Rondo: Allegro comodo
8. Grave, Molto allegro e con brio
9. Adagio cantabile
10. Rondo: Allegro

Tracks:

1. Allegro
2. Andante
3. Scherzo: Assai allegro
4. Allegro con brio
5. Adagio con molto espressione
6. Menuetto
7. Rondo: Allegretto
8. Andante con Variazioni
9. Scherzo: Allegro molto
10. Marcia funebre (Sulla morte d'un Eroe)
11. Allegro

Tracks:

1. Andante, Allegro, Andante
2. Allegro molto vivace
3. Adagio con espressione
4. Allegro vivace
5. Adagio sostenuto
6. Allegretto
7. Presto agitato
8. Allegro
9. Andante
10. Scherzo: Allegro vivace
11. Rondo: Allegro ma non troppo

Tracks:

1. Allegro vivace
2. Adagio grazioso
3. Rondo: Allegretto
4. Largo, Allegretto, Allegro
5. Adagio
6. Allegretto
7. Allegro
8. Scherzo: Allegretto vivace
9. Menuetto: Moderato e grazioso
10. Presto con fuoco

Tracks:

1. Allegro con brio
2. Introduzione: Adagio molto
3. Rondo: Allegretto moderato
4. In tempo d'un Menuetto
5. Allegretto
6. Allegro assai
7. Andante con moto
8. Allegro non troppo

Tracks:

1. Andante
2. Rondo: Allegro
3. Allegro ma non troppo
4. Tempo di Menuetto
5. Adagio cantabile; Allegro ma non troppo
6. Allegro vivace
7. Presto alla tedesca
8. Andante
9. Vivace
10. Adagio: Allegro (Les Adieux)
11. Andante espressivo (L'Absence)
12. Vivacissimamente (Le Retour)
13. Vivaciously And With Feeling And Expression Throughout
14. Not Too Quickly And Very Songfully

Tracks:

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

Tracks:

1. Vivace, ma non troppo, Adagio espressivo
2. Prestissimo
3. Tema; Molto cantabile & espressivo; Variazioni I-VI
4. Moderato cantabile, molto espressivo
5. Allego molto
6. Adagio ma non troppo; Arioso dolente; Fuga; Allegro, ma non troppo; L'istesso tempo di Arioso; L'inversione della Fuga
7. Maestoso, Allegro con brio ed appassionato
8. 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.

Average customer rating:

Mozart: Complete Sonatas for Keyboard and Violin, Vol. 4 [Hybrid SACD] Manufacturer: Channel Classics Nl ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Imports | Stores | Music Similar Items: Mozart: Complete Sonatas for Keyboard & Violin, Vol. 3 [Hybrid SACD] Mozart: Complete Sonatas for Keyboard and Violin, Vol. 2 [Hybrid SACD] Mozart: Complete Sonatas for Keyboard & Violin, Vol. 1 [Hybrid SACD] ASIN: B000OLG5GS Release Date: 2007-06-12

Tracks:

1. Allegro (Sonata in E flat, K. 302 (293B)
2. Rondeau: Andante grazioso
3. Allegro spiritoso (Sonata in G, K. 9)
4. Andante
5. Menuet I & II
6. Allegro (Sonata in E minor, K. 304 (300c)
7. Tempo di Menuetto
8. Allegro molto (Sonata in D, K. 29)
9. Menuetto & Trio
10. Molto Allegro (Sonata in A, K. 526)
11. Andante
12. Presto

Average customer rating: An unexpected delight Wonderful and Stirring Exceptional Sonata Recording Words should fail me Podger gets better and better

Bach: Complete Sonatas for Violin and Obbligato Harpsichord / Pinnock, Podger Rachel Podger , and Trevor Pinnock Manufacturer: Channel Classics Nl ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Imports | Stores | Music Similar Items: Bach: Complete Sonatas & Partitas for Violin Solo Vivaldi: La Stravaganza Mozart: Complete Sonatas for Keyboard & Violin, Vol. 3 [Hybrid SACD] Mozart: Complete Sonatas for Keyboard & Violin, Vol. 1 [Hybrid SACD] Mozart: Complete Sonatas for Keyboard and Violin, Vol. 2 [Hybrid SACD] ASIN: B00005056Z Release Date: 2001-01-09

Tracks:

1. Son No.6 in G, BWV1019: Allegro - Trevor Pinnock/Rachel Podger
2. Son No.6 in G, BWV1019: Largo - Trevor Pinnock/Rachel Podger
3. Son No.6 in G, BWV1019: Allegro (Cembalo Solo) - Trevor Pinnock/Rachel Podger
4. Son No.6 in G, BWV1019: Adagio - Trevor Pinnock/Rachel Podger
5. Son No.6 in G, BWV1019: Allegro - Trevor Pinnock/Rachel Podger
6. Son No.1 in b, BWV1014: Adagio - Trevor Pinnock/Rachel Podger
7. Son No.1 in b, BWV1014: Allegro - Trevor Pinnock/Rachel Podger
8. Son No.1 in b, BWV1014: Andante - Trevor Pinnock/Rachel Podger
9. Son No.1 in b, BWV1014: Allegro - Trevor Pinnock/Rachel Podger
10. Son No.2 in A, BWV1015: Dolce - Trevor Pinnock/Rachel Podger
11. Son No.2 in A, BWV1015: Allegro - Trevor Pinnock/Rachel Podger
12. Son No.2 in A, BWV1015: Andante Un Poco - Trevor Pinnock/Rachel Podger
13. Son No.2 in A, BWV1015: Presto - Trevor Pinnock/Rachel Podger
14. Son No.3 in E, BWV1016: Adagio - Trevor Pinnock/Rachel Podger
15. Son No.3 in E, BWV1016: Allegro - Trevor Pinnock/Rachel Podger
16. Son No.3 in E, BWV1016: Adagio Ma Non Tanto - Trevor Pinnock/Rachel Podger
17. Son No.3 in E, BWV1016: Allegro - Trevor Pinnock/Rachel Podger
18. Continuo Son in e, BWV1023: (Allegro) - Trevor Pinnock/Rachel Podger/Jonathan Manson
19. Continuo Son in e, BWV1023: Adagio Ma Non Tanto - Trevor Pinnock/Rachel Podger/Jonathan Manson
20. Continuo Son in e, BWV1023: Allemanda - Trevor Pinnock/Rachel Podger/Jonathan Manson
21. Continuo Son in e, BWV1023: Gigue - Trevor Pinnock/Rachel Podger/Jonathan Manson

Tracks:

1. Continuo Son in G, BWV1021: Adagio - Trevor Pinnock/Rachel Podger/Jonathan Manson
2. Continuo Son in G, BWV1021: Vivace - Trevor Pinnock/Rachel Podger/Jonathan Manson
3. Continuo Son in G, BWV1021: Largo - Trevor Pinnock/Rachel Podger/Jonathan Manson
4. Continuo Son in G, BWV1021: Presto - Trevor Pinnock/Rachel Podger/Jonathan Manson
5. Son No.4 in c, BWV1017: Largo - Trevor Pinnock/Rachel Podger
6. Son No.4 in c, BWV1017: Allegro - Trevor Pinnock/Rachel Podger
7. Son No.4 in c, BWV1017: Adagio - Trevor Pinnock/Rachel Podger
8. Son No.4 in c, BWV1017: Allegro - Trevor Pinnock/Rachel Podger
9. Son No.5 in f, BWV1018: (Largo) - Trevor Pinnock/Rachel Podger
10. Son No.5 in f, BWV1018: Allegro - Trevor Pinnock/Rachel Podger
11. Son No.5 in f, BWV1018: Adagio - Trevor Pinnock/Rachel Podger
12. Son No.5 in f, BWV1018: Vivace - Trevor Pinnock/Rachel Podger
13. Son No.6 in G, BWV1019a: Vivace - Trevor Pinnock/Rachel Podger/Jonathan Manson
14. Son No.6 in G, BWV1019a: Largo - Trevor Pinnock/Rachel Podger/Jonathan Manson
15. Son No.6 in G, BWV1019a: Cembalo Solo - Trevor Pinnock/Rachel Podger/Jonathan Manson
16. Son No.6 in G, BWV1019a: Adagio - Trevor Pinnock/Rachel Podger/Jonathan Manson
17. Son No.6 in G, BWV1019a: Vn Solo E Basso L'accompagnato - Trevor Pinnock/Rachel Podger/Jonathan Manson
18. Son No.6 in G, BWV1019a: Presto Ab Initio Repetatur Et Claudatur - Trevor Pinnock/Rachel Podger/Jonathan Manson
19. Son No.6 Version 2, BWV1019a: Cantabile Ma Un Poco Adagio - Trevor Pinnock/Rachel Podger

Amazon.com

Rachel Podger's growing reputation among early-music enthusiasts is buttressed by this set of Bach's sonatas for violin and continuo. Her intonation is always on target, her tone sweet but not cloying. While she shares the understated interpretive stance of so many historically informed performers, she allows the emotions to shine through in, for example, the opening Largo of Sonata No. 5. And where the dancelike elements are to the fore, as in the Allegro of No. 6, she shows she can swing with the best. She's aided immeasurably by harpsichordist Trevor Pinnock, whose alert playing is enjoyable throughout. When Bach gives the continuo player his moment in the sun, as in the solo third movement of No. 6, he cuts loose with shapely playing that almost steals the show. So fans of current styles in early-music performance will enjoy this set, though they'll find more excitement in Andrew Manze's Harmonia Mundi set and in Fabio Bondi's on Opus 111. --Dan Davis

Customer Reviews:

An unexpected delight.......2005-08-10

Within the first minute of listening to this CD, one is immediately captivated by Rachel Podger's gorgeous tone and intonation - a truly mellifluous sonority that ranks with the finest. Her subtle phrasings, gentle-but-sparing vibrato and deft bowing technique combine to produce a sound that is effortlessly cantabile, highly refreshing and never tiring to hear. She shapes her melody lines with great artistry and elegance - producing a sonorities of pure delight. Plus, her intonation sounds superbly "in tune" - which sometimes cannot be said about some violin music (especially that with a period violin). You hear all of these fine artistic qualities too in her Bach solo violin partitas/sonatas recordings (Channel) - complex pieces of music that are not only very difficult to play but even more difficult to make sound beautiful. Rachel Podger makes all this music of Bach sound not only easy but unusually beautiful - where you can listen to the entire CD without feeling it is too much.

Equally adept at this music is the ever-competent Baroque master, Mr. Trevor Pinnock, who not only provides interesting accompanyment to Podger but especially shines in the spotlit keyboard runs and solos. In these he maintains a spirited progression and crisp articulations throughout that keeps one in rapt attention. His cembalo solo in the #6 allegro (track 3) is downright sexy and can make one want to jump up and dance. His harpsichord sound is exceptionally warm and inviting (as harpsichords go) and not "clancky" as some can be. I surprisingly loved it. This is important for listening to an entire CD featuring that instrument! If you normally do not warm to the sound of the harpsichord, you may be pleasantly surprized that you like Pinnock's harpsichord here. Both musicians maintain an ideal balance between them with a delightfull interaction throughout the music that never seems labored or monotonous. Not an easy task for such music featuring only two instuments over two CD's.

Sometimes it is hard to define what exactly makes a fine performance but you know it when you hear it - and this is one of those. This duo's playing is completely in synch and makes the music come alive in a very natural and enjoyable way. Together, they bring out more of a carefree exuberance and lyrical depth in this music that others might not plumb. Also, the sound quality is sparkling and realistic - really superb. This CD was highly rated by Gramophone and Penguin Guide who give high marks for this duo's marvelous performance. The other performance that gets high marks from many guides is the lively version by Biondi & Allessandrini on Op. 111 done with Biondi's characteristic Italian expressivity and panache ... but it is a hard CD to find. In short, this beautiful recording - one of Podger's finest - is a gem not to be missed by the Baroque lover.

Wonderful and Stirring.......2004-06-13

Pinnock and Podger play wonderfully together. I never tire of this CD. Many joyful moments and many lovely, expressive moments. How does Podger do it? I could listen to her playing all day.

Exceptional Sonata Recording.......2001-05-08

Two CD collection of Bach's Sonatas for violin and harpsichord. I have always been a great fan of the harpsichord, and here Pinnock is outstanding in is chamber music capability.

The resonance of Podger's instrument is wonderful, so full and throaty and lyrical. I especially like the spirited Allegro to Sonata No. 6, and Pinnock's harpsichord solo on the Allegro of that opening Sonata.

The complexities of Bach's composition are here richly interpretated with good tempo and balance. The Cantabile is wonderfully charming.

A great Bach collection.

Words should fail me.......2001-03-02

but here they are. I bought my first copy of Bach's Violin and Harpsichord Sonatas after seeing the movie Tom Jones in about 1964. The sound track of the film features some lively harpsichord playing and I wanted to hear more. Unfortunately (I thought) the only lp of harpsichord music available had violin in addition, as well as viola da gamba. The version of the Bach sonatas by Menuhim, Malcolm and Gauntlett has been out of print for years, but it was a hum-dinger. It seduced me. I have bought other versions since then and always been disappointed until now. Podger, Pinnock and Jonathan Manson have done an amazing job.

Caution: if you buy this, close the curtains before playing. Otherwise your neighbors might get to see you dancing around in ecstacy. This stuff is refined rock and roll.

Podger gets better and better.......2001-01-13

Rachel Podger, concertmaster of Trevor Pinnock's The English Concert, is a fresh and winning violinist. Her sound is warm and accurate, and this recording can be recommended. She is more straightforward and natural in these marvelous sonatas than Andrew Manze, who was not at his best in his recent HM version. But my numero uno choice still is Fabio Biondi and Rinaldo Alessandrini in OPUS111. The Italian dream team play like gods, and the superior OPUS111 sound make their version the most desirable of all.

Average customer rating: A fascinating and entertaining recording Unimpressive Compositions and Performance Beautiful violin sonatas of the "middle" baroque Interesting, but questionable Inventive Baroque Violin Music

Pandolfi: Complete Violin Sonatas Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD Pandolfi-Mealli, G.A. | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Imports | Stores | Music Similar Items: Uccellini - Sonatas / Romanesca - Manze · North · Toll Tartini: The Devil's Sonata / Andrew Manze Biber: Violin Sonatas Violin Sonatas Op 5 Telemann: Twelve Fantasias for Violin Solo; Gulliver Suite for Two Violins ASIN: B00000JPXM Release Date: 1999-08-10

Amazon.com

All we know about the mysterious Giovanni Antonio Pandolfi Meali--as his full name runs--is that he "flourished" at the court of Innsbruck between 1660 and 1669. And we probably wouldn't know even that, save for the fact that two sets of violin sonatas, designated Op. 3 and Op. 4, respectively, and dating from 1660, have somehow survived to the present day. Anyone familiar with the music of this period will realize just what a treasure these works potentially represent, for this was the moment of the emergence of the first great school of violin playing in Italy and Austria, typified by the dazzling music of Biber and his Salzburg contemporaries. Pandolfi was clearly one of the gang: his music is by turns winsomely lyrical and technically brilliant. None of these 12 works is longer than eight minutes, and each is a little suite of arias and dances full of contrast and invention. Andrew Manze is not just the world's best baroque violinist, he's one of the world's best violinists, period. His interpretations of these appealing sonatas are matchless, and Harmonia Mundi's sonics bathe both violin and harpsichord in a golden glow. Magnificent. --David Hurwitz

Customer Reviews:

A fascinating and entertaining recording.......2007-03-08

The works of Pandolfi are performed by Andrew Manze with no little fire and imagination here. As others have pointed out, little is know about Pandolfi, except that he was roughly contemporary with Biber and Schmelzer.

I have been listening to and enjoying this rather strange recording of some rather strange Baroque music for a few years now and I am a little surprised by some of the negative reviews of this recording. I listen to, study, make scores and play the music of Biber and Schmelzer in my spare time - I am a cornettist - and it strikes me that Pandolfi is a similar composer. It is a pity we have only these sonatas as a testament to the composer. Perhaps if we found some ensemble music or a Mass or an opera, we might have a clearer picture of the composer? Perhaps, perhaps not. After all, Corelli left us no vocal music, for instance - only concerti and sonatas.

I enjoy listening to this disc in my car when I'm driving. I can't say why.

Please don't be put off by the rather negative reviews of this recording.

Unimpressive Compositions and Performance.......2005-10-13

Giovanni Pandolfi is one of several obscure Italian composers who were primarily away from their native country composing for foreign courts and patrons: Uccellini and Matteis are some of the others. Andrew Manze is also one of the leading musicians in exploring previously unknown composers from the Early Baroque period. Although I kind of knew what to expect in terms of Manze's shortcomings as one previous reviewer has mentioned, the compositions themselves on this album are mediocre in terms of its contemporaries and amount to nothing but scale practice. The rather deceptive claim by the main reviewer that no one can match this performance is already not a good sign. Although true, the only reason no one can presently match this performance is not due to any of lack of competing talent but simply because Manze is the only talent to have recorded it. Manze performing is not really saying much at all either I'm afraid because Manze's talent is more an academic one rather than of a professional nature and so that is the deficiency which for me sends this mediocre work back to the depths of obscurity where it had properly remained for good reason.

Manze is at it again as with every piece he performs for the Italian style that has absolutely no passion of any sort. They are lifeless robotic excercises and nothing more! Manze is principally an academic performer instead of a professional one and his performances sound like scale and technique lessons instead of the passionate interpretations they are supposed to be. I can't stand them as it really only appeals to violinists who need to practice the techniques that are painfully overemphasized ad nauseam in recordings such as this one! This sluggish screeching resulting from his over-methodical applications of technique sounds like a set of nails scratching the chalkboard every time. It's self-defeating really as such over-methodical performances make him sound like nothing more than an amateur! They are tedious beyond belief! In terms of professional performance cirlces he is really an amateur in many ways. Compare Manze/Romanesca and Goebels/Musica Antiqua Koln for Biber's 'Mystery Sonatas' where Manze's deficiencies are shamefully exposed in properly performing Italian/Catholic tradition Early Baroque pieces. Although both he and Goebels use traditional intruments and techniques, Goebels' fluid and emotive interpretation leaves Manze sounding stuck in the mud of his own confused ones. An even better example of this in terms of Early Baroque Italian performers such as Pandolfi is Manze and McGegan performing Uccellini who is somewhat of an Italian contemporary. Just as with Goebels for Biber, Nicholas McGegan's traditional performance of Uccellini on the Baroque violin is warm, fluid, vibrant, and full of life whereas Manze's performance is as fossilized as the one here. With Manze it's no longer a Baroque interpretation but a prehistoric one instead! With performances for Pandolfi there isn't yet really any choice except Manze but, to listeners who care about their ears, I tell you avoid Manze like the plague whenever possible. He knows great techniques but simply doesn't know how to properly apply them for public performance. In short, he simply stinks as a public performer and, despite all his technical knowledge, he is ironically one of the worst solo violinists you can get for virtually anything you might want to buy!

This album is way too expensive for both the composer and performer that is in it. Pandolfi is probably the least gifted of the obscure early 17th century Italian composers: these works are nothing but basic scale practice for archaic methods. I have great respect for Manze as an innovative musicologist exploring these obscure Baroque works and the difficult techniques they demand but he is simply pathetic as a performer and that's the simple truth! He focuses so much on techniques that he limits his ability to express the lyricism they are intended to evoke in the first place. Avoid this album and avoid Manze whenever possible as he's more an academic than a public performer.

Beautiful violin sonatas of the "middle" baroque.......2003-08-19

Andrew Manze is an extraordinarily gifted violinst. Let me say right away that Manze's playing is not "squeaky" or "scratchy," as authentic performances of baroque violin music are often (sometimes with justification) said to be. Manze is clearly a virtuoso but he also plays the slower passages of these sonatas with great feeling.

Pandolfi's wonderful sonatas are from the middle baroque. Most popular baroque music, e.g., Bach, Handel, Vivaldi, Telemann, etc., is from the late Baroque, i.e., the early 18th Century. Pandolfi's music sounds quite different from what most listeners, familiar with music of the late Baroque, will recognize as a typical baroque violin sonata. For one thing, each sonata is in one continuous movement, during which there are multiple changes of tempo and mood. And the playing seems to me to be considerably more varied than in the typical late baroque violin sonata. Pandolfi's sonatas are clearly not from the alleged "sewing school" of Italian baroque music, according to which view all Italian baroque music sounds the same (in my view, many of Vivaldi's sonatas do indeed sound the same). My personal favorite Pandolfi sonata is probably "La Melana," which, contrary to another reviewer's claim, does have a beautiful lyric melody.

I think it quite unfortunate that the Opus 3 & 4 are all we have of Pandolfi's music. I would gladly trade a few dozen Boccherini pieces for one or two more of Pandolfi's lovely violin sonatas.

If you like Pandolfi's sonatas, you will probably also like Uccellini's sonatas, many of which have been recorded by Manze on another of his CDs with Harmonia Mundi.

Interesting, but questionable.......2003-05-31

I really enjoy this CD very much. Interesting liner notes, really beautiful CD, and very "fun" music to listen to. Manze's performance and interpretation is a blend of classical virtuosity and almost rock-star like bravura in his fortspinnung portions, although very sensitive to the lyric portions of the piece. Really, a wonderful performance....

But (and this is really my question with other of Manze's recordings as well) how much of this is real? That is, how much of what I'm hearing is Pandolfi, and how much of it is Manze? I don't necessarily think that this is a moot point, although I also suppose it's arguable. Either way, I'm not convinced that this is necessarily Pandolfi -- although it IS very good.

Inventive Baroque Violin Music.......2002-09-17

This cd introduced me to the work of a baroque composer that I had previously been unaware of. The liner notes say that almost nothing is known about Pandolfi, and that only his Op. 3 and Op. 4 (the violin sonatas on this album) have survived.
Most of the music is not lyrically beautiful; rather, I would characterize it as inventive and imaginative. If you ever get the feeling that all baroque violin music sounds more or less the same, try this disc. Pandolfi definitely has his own distinctive voice.
The playing is exceptionally good, as is usual with Manze and Egarr. The sound quality is also excellent. I would recommend this cd to anyone who wants to explore the work of less well-known composers.

Average customer rating: THE BEST SET OF BEETHOVEN'S VIOLIN SONATAS EASILY AVAILABLE.

Beethoven: Complete Violin Sonatas Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Mozart: The Violin Sonatas Complete String Quartets Complete Concertos / Overtures Mozart: Great Violin Sonatas, Vol. 1 Haydn: The 12 "London" Symphonies ASIN: B0009A4200 Release Date: 2005-08-09

Tracks:

1. I. Allegro Con Brio
2. II. Tema Con Variazioni. Andante Con Moto (Variations I-IV)
3. III. Rondo. Allegro
4. I. Allegro Vivace
5. II. Andante Piu Tosto Allegretto
6. III. Allegro Piacevole
7. I. Allegro Con Spirito
8. II. Adagio Con Molta Espressione
9. III. Rondo. Allegro Molto
10. I. Presto
11. II. Andante Scherzoso Piu Allegretto
12. III. Allegro Molto

Tracks:

1. I. Allegro
2. I. Adagio Molto Espressivo
3. III. Scherzo. Allegro Molto
4. IV. Rondo. Allegro Ma Non Troppo
5. I. Allegro
6. II. Adagio Molto Espressivo
7. III. Allegretto Con Variazioni (Variations I-VI)
8. I. Allegro Con Brio
9. II. Adagio Cantabile
10. III. Scherzo. Allegro-Trio
11. IV. Finale. Allegro-Presto

Tracks:

1. I. Allegro Assai
2. II. Tempo Di Minuetto Ma Molto Moderato E Grazioso
3. III. Allegro Vivace
4. I. Adagio Sostenuto-Presto
5. II. Andante Con Variazioni (I-IV)
6. III. Presto
7. I. Allegro Moderato
8. II. Adagio Espressivo
9. III. Scherzo. Allegro-Trio-Coda
10. IV. Poco Allegretto-Adagio Espressivo-Tempo I

Customer Reviews:

THE BEST SET OF BEETHOVEN'S VIOLIN SONATAS EASILY AVAILABLE........2005-09-21

Wolfgang Schneiderhan had a very sweet, singing timber with his violin. He has great control, and his playing is very finely mannered.

The cycle he recorded with Kempff is excellent, but going out of print.

This cycle with Carl Seemann is very good; easily available; and well priced.

Seemann was Schneiderhan's accompanist on the Brahms violin Sonatas as well. Highly recommended.

Track Listings:

1. Concerto Grossi 9-12
2. Cowell: Persian Set/Goeb: Symphony No.3/Weber: Blake Symphony
3. Daniel-Lesur: Andrea del Sarto; Constant: Essays for Orchestra...
4. de Leeuw: ANTIGONE
5. Dietrich Fischer-Dieskau Sings Bach (BWV. Nos. 56 & 82)
6. Edgar Allan Poe Suite: Horror Express [Soundtrack]
7. Elgar: Pomp & circumstance marches Nos. 1-5; Froissart; Cockaigne
8. Elgar: Symphony No. 2 / Cockaigne Overture / Dream Children No. 1
9. Extraordinary Vistas: Words and Music of The MacDowell Colony
10. Four Full Flutes - Flute Works

Track Listings

track listings

Track Listings

Who Stole the I Walkman?

Carl Nielsen: Symphonies 2 & 3

Chapter 3

Upward & Onward

Chartbusters USA, Vol. 2

Can't Deny It [CD-single] [Import]

Duets

Beethoven: The 5 Piano Concertos

Classic Snatches from Europe [Live]

Cats Are Stealing My ----

Dirty Sanchez

Essential [Import]

Concourse E.E.P. [Import]

Gift of Love Wedding Compilation

This Is Speedometer, Vol. 2