Customer Reviews

Beethoven: Complete Piano Sonatas [Box Set]

5 star:		(6)
4 star:		(7)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

This set of Beethoven sonatas has its highs and lows (like every other set of sonatas available). The high points for this include fidelity to Beethoven's markings and, in general, a lack of eccentricities. This leads to superior performances in such sonatas as the three in opus 2, the three in opus 10, and opus 53. In addition, the late sonatas are played beautifully - this is as good of an opus 109 as I've heard, and opus 110 is also extremely moving. And the Hammerklavier is really well done.

The lows include the fact that this set has a few smudged notes here and there. From what I understand (from reading other listeners' feedback on the internet), this set was recorded in the early 1980s over the period of serveral months or even a couple of years, and each piece was recorded complete without editing - I don't know if that means each movement or each sonata complete. In addition, the sound is not very pleasant in some of the sonatas (not all of them).

Others have taken issue with the order that the sonatas are presented, and the lack of program liner notes, neither of which is an issue for me. I think there are individual movements (op. 22, second movement; op. 2 #2, second movement, the Tempest, last movement) that sound a little superficial, where somebody like, say, Arrau pulls out more produndity. But one man's profundity is another man's ponderousness, and Roberts has more of a sense of humor that Arrau in the opus 31 sonatas. In general, his pacing is somewhere between that of Richard Goode (whose playing is extremely energetic, but can be heard as somewhat glib and superficial) and Arrau (who, mentioned above, doesn't put much energy into op. 53 and op. 57).

In a way, it's a shame that this set is so inexpensive, because it can overshadow comparisons to other sets. I own sets by other pianists (Goode, Arrau, most of Brendel's) and individual sonatas by a lot of others, and right now this is my favorite. This is a great set for people looking for a solid, complete set, faithful to Beethoven's wishes, and consistent throughout. It's a good choice for a library as well.

I majored in music in college, and have been a classical music fan since I was in junior high school. These performances by Bernard Roberts are delightful. I think Mr. Roberts takes more af a technically pure (and less sacharin) approach than some folks are used to - no frills, but still manages to catch the intricacies of the music. The sound isn't the big concert hall sound - it is a much more intimate chamber music acoustic than I've heard on any other recordings. The dynamic range is well captured and the recordings are top notch. I paid much more for a few of these recordings when they originally came out and thought they were worth the full price. Mr. Robert's interpretations stand up to anything else out there and don't have to take a back seat to anyone. This will be the only complete set of Beethoven's Piano Sonatas I will need - or want. I plan on adding all of these Nimbus sets to my collection - and I CAN afford the more expensive ones. These Nimbus sets are a superior buy at any price.

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.

If my entire music collection were limited to two collections, the first would be the Well Tempered Klavier (the "Forty Eight" or the "Old Testament" of piano music) and the Beethoven Piano Sonatas (the "Thirty Two" or the "New Testament"). This set by Bernard Roberts is as close to perfection as any. Here we have one of the finest digital recordings of the entire Thirty Two by a strong traditional performer at a very modest price. There are finer individual performances in the discography (Brendel, Kovacevich and Pollini, for example), but that is mere quibbling. Overall it doesn't get any better than this. Roberts' performance is powerful, rich and insightful. The sound is clean and the price is at least $.... less than any other comparable set I've seen.

Some random thoughts.

1. Notable performances in this set include Roberts' interpretations of the Opus 53 ("Waldstein") and the Opus 106 ("Hammerklavier").

2. Because the Thirty Two were written For me the Thirty Two are best heard in chronological order, the organization of the 32 among the 11 CD's is highly disconcerting. There is no chronological or other apparent order among the discs.

3. The set includes a booklet showing the detailed contents of the discs and recording times, but other information on the works is almost wholly lacking. I would think that, at a minimum, the dates of the works and brief descriptions in a set like this should be indispensible.

Fully equivalent of any modern set around this set has great moments of depth. Though his piano playing in not stellar, his interpetations generally surpass most others. His playing is free from idyoscnhrony, direct, and rugged. Direct comparison with Richard Goode shows Roberts to possess greater passion, structural integrity, and most important much more depth. Comparisons with Kempff show Roberts to have greater Beethoven command and understanding, plus again greater depth. Arrau, Barenboim, and others are not competitive with this set. Jando is good but lacks weight and architectural strength.

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.

Boy, I sure am glad I purchased this set!! Are all the Nimbus recordings this good? The acoustics are clear, and Mr. Roberts plays these as well as anyone around. He isn't the greatest pianist who ever lived, but he manages to get the job done, and quite well. You could spend a lot more to own the complete set of Beethoven Piano Sonatas. Don't let the budget price put you off.

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!

I got this set more than a decade ago -- I still cherish it to this day. I think Roberts' interpretation of Beethoven is on par with the other leading pianists of the 20th century, if not superior. Try Sonata 31, Moderato cantabile molto espressivo -- you can just feel the emotions pouring out of those keys in those arpeggios. To me, Roberts' style of playing is very "human," and natural -- the opposite end of the spectrum would be someone like Glenn Gould (mechanically very precise -- but perhaps too precise for the listener to enjoy emotionally heavy pieces like the ones here). The recording is a bit dated, yes, and so sonically you might feel that it sounds a bit like you're 20 ft away from the piano when you hear it -- but even so, Roberts' technique is very natural and a joy to listen to.

Ashkenazy's rendition is very similar to Roberts', and it does sound sonically superior (strictly in that sense) -- it sounds less muffled. However, as far as technique goes, I think Roberts is better (especially in his rhythm).

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!)