Customer Reviews

Beethoven: Complete Piano Sonatas / Daniel Barenboim

5 star:		(13)
4 star:		(5)
3 star:		(2)
2 star:		(2)
1 star:		(0)

 

 

A complete set of Beethoven's 32 piano sonatas will provide any serious music lover with rich and endless enjoyment. Bold, challenging, beautiful, witty and fresh - they seem to encompass all aspects of human sensibility and aspiration. It is perhaps the wit and the freshness that impress most in Barenboim's EMI boxed set of the complete sonatas.

Daniel Barenboim was 25 when he was invited to record them. Has any other pianist ever received such an invitation at that age? Barenboim accepted, but insisted that he be free to record them again if he wished to at a later stage in his career. Well, so far he has made one further complete recording, and that is very fine too.

This set, however, recorded 1966-1969 is the one complete set I prefer above all others. Every listener will have his favourite sonatas and his favourite moments in them. I especially like Barenboim's spontaneous playing of the four sonatas found on CD 8. Elsewhere, Barenboim sometimes has a tendency to push slow tempos to extreme: the variation movements of Nos 30 and 32 are surely excessively slow.

Welcome indeed, especially for those who once owned these recordings on first release vinyl, is the high quality of these 1989 EMI transfers. Adding inestimably to the value of this set are the notes provided by Eric Blom. Slightly abridged and edited here, they originally accompanied the first complete recording of the 32 sonatas made in the 1930s by Artur Schnabel.

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

Personally, I think his style is just right for Beethoven (but perhaps just a bit much when he plays Mozart). I'm very glad that I bought this set, but some might prefer Brendell's (Phillips) or Kempff's (DG) more sedate versions.

I bought this cycle since I was becoming increasingly dissatisfied with Wilhelm Kempff's (1964) set on DG - a set I grew up with while studying many of these sonatas at the piano. Though Kempff always plays with sensitivity, I simply find his cycle too tame, especially in sonatas which call for more passion. Barenboim's cycle couldn't contrast more strongly with Kempff's. Reviewers stating that this is a performance of extremes, are correct. But I think that is just what Beethoven called for. I never find Barenboim's tempos disturbingly slow or fast. His playing in the slow movements is remarkably beautiful. Of course, Barenboim was in his 20's when he recorded his cycle - Kempff was in his 70's (I've read that Kempff's earlier mono cycle on DG is considerably more passionate and urgent). I've also heard parts of the Ashkenazy cycle, and consider that pretty fine. But I am bothered by the sound of Ashkenazy's piano (and the recorded sound) - the treble is piercing, and the bass is much too twangy. I also think Ashkenazy is a little lacking in the greatest depths of expression - his performances are somewhat standardized and efficient, rather than inspired. - Barenboim's later cycle on DG (1980's) is also very good (I've just heard parts) - and is also cheap. I think the DG sound is a bit better than on this 1965-9 EMI cycle (on DG the piano has a bit more air around the instrument). But this EMI cycle remains unbeatable for Barenboim's passionate performances, full of youthful exuberance. He just compels you to keep listening through the whole box.

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

I've collected nearly all of the integral sets of the sonatas, and I'd find it hard to choose just one -- but this is certainly one set that I think I could live with and enjoy were I just to have one. Barenboim plays with both sensitivity and panache. I'd definitely choose this set over any of the Brendel recordings. The Richard Goode, Schnabel and first version of the Kempff would be other recommendations for great performances -- but for right now, this is where my heart is. Listen to these and see if you don't fall in love with the heartfelt beauty of these performances.

I am not much of a pianist, but I enjoy piano music and really loved this 10-CD collection. Barenboim is crisp and accurate. I haven't heard most of these sonatas before; although many are new to me, I like them all. Barenboim is as good as any I've every heard on Moonlight and his rendition of Waldstein is so good that sometimes I put it on repeat and just let it run. I would rate the recording quality as excellent.

The beethoven piano sonatas are quite simply the finest in their genre or for that matter in any category.Great artists of the past like Kempff,Richter,Gilels,arrau and Living Greats like Pollini,Kovacevich and Perahia have given us their wonderful interpretations of these masterpieces.Yet,quite strangely i find myself moved by the compelling interpretation(?)of the young Barenboim.There is an ebb and flow in Barenboim's playing that i do not find in others.There is a passion and a joy,a brooding and a sorrow,a lyricism and romance,a youthful impetuosity and swagger that i do not find in other more RESPECTABLE performances.Infact Barenboim seems to be playing for the very joy of making music.It may not be conventional but then who cares.They may not be PERFECT (EX:The HammerKlavier sonata and the late sonatas)but none can deny that HERE IS INSPIRATION THAT goes beyond the bounds of perfection!The NAME sonatas like Moonlight,Pathetique,Pastoral,Tempest,Waldstein,Appassionata,Etc are played superbly.I feel i need not comment on them.i will draw your attention to the opening of sonata no4,the last movement of sonata no 13,sonata nos 20 and 25.Just listen to these to know what i mean.There is a spontaneity and improvisatory quality that are quite simply musings of a genius.VIVA BARENBOIM!!!

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

I have not heard many of the other pianists listed in these reviews. But I do know that I did a blind listening of Barenboim vs. Pollini, Gould, Gilels, Horowitz and Richter with some friends of mine and Barenboim was our unanimous choice as the best. What does he have that the others don't?
He has an orchestral, or operatic approach that makes the melodies really sing and is constantly employing drama.
I also think that he has near perfect use of the sustain pedal.
He explores so many emotions. That is what it makes his playing so appealing.
At least that's what I think!
I wonder why he doesn't have more of a piano reputation?

Let people (including me) tell you what they will, but listen to all of them, decide for yourself, and you will have to agree after repeated listenings that Barenboim's renditions are exactly what the Master intended.

But there is a catch. The late sonatas are more of "objective emotion", if that can be possible. Barneboim's fiery style and ever-impassioned performance does not make for the best renditions of the late sonatas. The Hammerklavier was particularly disappointing. The differences between the middle and the late sonatas, in every respect, seem to have been simply ignored by Barenboim.

If you want a box set, - with the complete sonatas by one performer, and if you have the tendency to "get used" to one performer - then I would recommend this set without hesitation.

But for the late sonatas by themselves, I would recommend Rosen.