Customer Reviews

Beethoven: Favourite Piano Sonatas

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

 

 

So, why this one, with so many out there? Well, if you are a pianist, you'd know that even if you've mastered one of these sonatas, it is difficult to have so many of them up to a 5-star standard. Horowitz' Appasionata is absolutely amazing! Rubinstein, late in his career, did such incredible things with the late sonatas. Barenboim's Moonlight will make you weep. Ashkenazy's Waldstein has the power it deserves. Murray Perahia makes the early sonatas sing!

But Brendel knows Beethoven. He knows him better than all of these others combined. There is never an unBeethovenian mannerism, never a pause for effect not-intended, never a dynamic misplaced, a peddle-point missed, a trill given more attention than it deserves. This is "thinking man's Beethoven". (It bears some resemblance to Wilhelm Kempf's, but Brendel's sense of rhythm is better.) You will listen to the first 30 bars of Moonlight and think, "Well, where's the bravura? where's the beef?", and then after 60 bars you'll think again -- "how could it possibly be played in any other way?" And, after you've gotten the other recordings out of your system, you'll think the same of virtually all the selections.

I won't throw out my Horowitz -- the students need to hear it. And I think I'd say the same of the earlier Barenboim recording. But for the rest -- after you own this one, you can dispense with them -- you've got all that you need.

Before Beethoven, the solo piano compositions (piano sonatas) of Haydn and Mozart were more designed for teaching, parlor music or an occasional showing of virtuosity - but within the classical restraint of the Vieneese culture. After mostly following this model for some time, Beethoven threw off these restaints and unleashed an unheard-of level of power and virtuosity - pioneering piano compositions of great drama, emotional expression and wide, dynamic tones. The public loved this new musical expression, especially such early works as the Pathetique and the so-called "Moonlight" sonata. Where piano sonatas before were well-suited for the dilattante and amatuer, these were now reserved only for the most advanced pianist. It was with such piano sonatas that Beethoven first worked out his revolutionary musical concepts that paved the way for his later and greater symphonies, concertos and string quartets - leaving behind the restraints of the "Classical period" and forging the way to the more-emotive "Romantic period."

Beethoven's seven most famous piano sonatas (the so-called "name sonatas") are on these two CD's. They are popular mostly because of the music is superb and changed the way the world looked at music at that time. These works (from Beethoven's "early" and "middle" periods until about 1801) are more popular and appealing to the average or newer listener than Beethoven's "lesser-accessible" and more turbulant later compositions. But, with so many recordings of these sonatas by so many of the great pianists to chose from, how does one decide? While for any individual sonata a certain performer may have recorded a spectacular reading, this 2-CD set by Alfred Brendel is - on a whole - excellent and highly rated. Gramophone Guide concluded of this DUO set, "These can be recommended without any reservations whatsoever." Brendel recorded three complete cycles of Beethoven's 32 sontatas. These are from Brendel's 1970's cycle (compared to the legendary first cycle on Vox or the most recent complete set recorded in the 1990's on Philips).

As one of the legendary pianist of the 20th century, Mr. Brendel is recognized worldwide as one of the finest interpreters of Beethoven (and Schubert) and gives exceptional performances here that are recorded with very good sound. Each reading is compelling, well-conceived and full of suspenseful and dramatic unfolding (Penguin Guide refers to them as "authoritive"). In particular, his "Waldstein" and "Tempest" show an exciting and seamless train-of-thought that resonates in the mind long after. His "Pastoral" and "Les Adieux" are gorgeous and flow like a refreshing stream. Equally attractive are the slower movements of the "Pathetique" and "Moonlight" sontata where Mr. Brendel creates an alluring atmosphere that is quiet, passionate and tender - hardly fitting the description of "overly-intellectual" often used in reference to his style (maybe its the thick glasses?). His readings here are still among my favorite for their depth and masterful sense of direction and unfolding, but many great pianists have recorded these marvels that have their own allure.

This DUO set of Brendel's Beethoven makes an excellent first purchase for those exploring Beethoven's piano sonatas especially with the value of the Philips DUO set. The sound is very good but shy of the best modern DDD recordings. Last, if you are looking for a first, COMPLETE SET of all Beethoven's 32 sonatas for piano, there are two great, "Super-Budget" choices from Bernard Roberts (Nimbus) or Claude Frank (Music & Arts). Both present Beethoven with balance and artistry and make good reference sets that are highly affordable (only about $25-30 on Amazon marketplace for the 10-CD set). Compositions - 5 stars; Performance - 5 stars; Sound quality - 4 stars.

Earlier recordings by Alfred Brendel hold a top spot in Gramophone's 2005 Classical CD Review, but while not at the top of the listing, this CD receives considerable praise at honorable mention. As always, individual sonatas have their respective, best interpreters (e.g., Rubinestein or Richter for Appassionata; Gilels for Waldstein); however, this is a rarely-found sampling by a recognized "great" pianist. In addition, collecting the pieces represented here would normally require the purchase of 2-3 individual CDs or a packaged cycle. Thus, this is a bargain value. Perhaps not the "first choice" for the musical purist or trained ear, nevertheless these recordings serve as a well-above-average collection of the most familiar Beethoven piano sonatas. Perfect for the classical listener wishing to (a) discover Beethoven piano music; (b) looking to fill in or diversify an existing collection or, (c) looking for a concise B+/A- collection of Brendal interpretations.

The music on this CD actually comes from Brendel's set of complete Beethoven piano sonatas. If you do not want to spend tons of money (the Brendel set is currently $127.77(4-26-00)), and you only want the most popular sonatas anyway, then these two CDs are ideal for you. Seven named piano sonatas are represented here, and each one of them is a winner. Also, the recorded sound of the piano is clear despite its age. Buy this double CD for a quick and painless introduction to Beethoven's celebrated piano sonatas.

There is some wonderful Beethoven playing to be heard in this set. In matters of light and shade, expansive tempos and luminious piano poetics, Brendel has got what it takes. His best performances here are clearly the Pastoral, the Tempest and perhaps the Les Adieux. The Pastoral especially requires patience and imagination which Brendel delivers. The famous Tempest finale is not rushed, but handled warmly and most beautifully. Brendel's Waldstein Sonata is not among the best but it's adequate.

But when it's time to really take the gloves off and dig into the full breadth of Beethoven's heroic, passionate thunderer mode, Brendel is not up to standard. The Pathetique Sonata was revolutionary when it was composed. It's not that long, it's not that new structurally but there is the lifeblood of the coming Romantic movement in this music. The opening movement under Brendel does not summon up the necessary might this music is forged from. Listen to Richter and hear it soar.

The Moonlight Sonata's opening Adagio Sostenuto is very famous and Brendel has what it takes but what about the finale? After the perfect foil of the tiny second movement, we hear the great counterpart to the opening adagio... the psychotic presto. Brendel is just not prepared, doesn't have the skills to make one feel this manic piece. It needs much more speed and a devil may care attitude. This is too careful. I've heard Gilels and others surpass Brendel very easily.

But the Appassionata is the biggest disappointing. I tried listening to Brendel's rendition multiple times and have found that it lacks everything this sonata is all about. This is one of the most wicked piano works ever composed. It is about a passion so deep, it should obliterate all who know it. A pianist who takes on this beast should possess a fire-breathing technique and no fear of dark grandeur. Listen to Gilels' giant interpretation on DG or Richter's versions on RCA and Melodiya. After those experiences, try coming back to Brendel! I don't doubt you'll be as annoyed and bored as I was.

I recently heard Brendel's 70s recordings of the "famous" Beethoven sonatas first time in quite a few years (I heard them before). Initially, I was not moved. It sounded like he was just playing the notes. As I listened more attentively, however, I started to get impressed. Clarity is the key word here - the clarity of playing and intention. No detail is too small to Brendel. Every marking by the composer (staccato, legato, crescendo, decrescendo, diminuendo, etc) is observed with utmost care. He is one of the few musicians who understand the importance of clearly differentiating between forte, mezzo-forte, and fortissimo (and varying levels of piano in that matter). It also appears he painstakingly prepared the voicing of certain chords so they sound in very particular ways. Listening to Brendel is like watching familiar movies through an HDTV. Compared to his playing, Ashkenazy glosses over quite a few details even though I love his romantic view of the works. Brendel's Beethoven is like a house solidly built inside and out, with every nail firmly hammered in. In comparison, Ashkenazy's is like a house that is glamorously painted outside without as much craftsmanship committed inside.

Perhaps the downside of Brendel's approach is that everything sounds too intentional. It's as if Brendel pushes the score into my face, pointing at notes and markings for me. More imagination and spontaneity may have helped. But no one can deny this is a faithful materialization of what Beethoven wrote, astonishingly executed. Of course you can supplement Brendel with the Russian guys such as Gilels, Richter, Horowitz and particularly Kissin, whose rendition of Moonlight sonata defies any comparison. They truly know how to conjure up a perfect storm or squeeze every drop of juice from the score. But it would be misleading to think Brendel delivers no emotion from these sonatas. After all, the emotions are already in the music when played right. And no one knows more how to play the music right than Brendel does.

This was the first Beethoven disc that i heard, and it really touched me. This music is so filled with and arduous sense of tragedy, yet it conveys the essence of Beethoven: expressing feeling through music. These performances so beautifully demostrate the incalculable genius of the composer. Any beginer should be very satisfyed with this Duo Disc. An excellent value for money. The playing is of high standard, excellent i must say in the case of the Pathetique and Waldestein sonatas. Also, its important to mention that the performances are in a very german matter. The only stepback is the sound, which in the Appassionata is dry and opaque. All in all, indispensable.

A little tape hiss you can only really hear through the headphones aside, on the whole, this is the best performed set on Beethoven sonatas you're going to find. Period. I have two sets of the sonatas, and various recordings by different performers on competing labels. For this set of "name sonatas," Brendel hands in traditional, dependable, and steady interpretations of these pieces to be enjoyed over and over again. O'Connor, Gulda, and Bernard Roberts turn in performances that are more on the classical, Mozartean side of the scale - unadorned, without big acoustics. On the other hand, Pollini, Schiff, and Uchida give us shock and awe, romantic interpretations of Beethoven that that lean toward the dramatic (Uchida's "Hammerklavier" is intoxicating). This set by Brendel is in the perfect middle. Bulls eye. Nail on the head. The engineering in more close up than some of the others, but the level of echo and reverberation are darn near perfect. His performance of the Pastoral Sonata is hypnotic, and his Moonlight Sonata, in my opinion (after many listenings and side-by-side comparisons, is the best recorded version on the market. Schiff's faster version may be closer to what Beethoven intended according to his tempo markings, but I've gotten used to listening to a slower, more romantic interpretation of that piece. The result - spine tingling intimacy. What one review calls 'wishy washy" I would call varying emotional intensity.

As far these CDs being just "short of the digtal age," I have an audiophile system, and these CDs sound great. Well engineered and well recorded. Sound stage and seperation is magnificent. No drowning in 4 second delays and cathedral acoustics, thankfully, so what you hear is the piano and the performance.

No one performer can be all things to all listeners. I have assembled an "all star cast" cycle, and the recordings I chose for the sonatas in question were Brendel's. Listen to the previews and decide for yourself. Plus, I picked this up for around three dollars, plus shipping. It is, like some of the other reviewers say, a real bargain. But that's not why I bought this set. I bought it for the superb performances. Highly recommend.

Philips collected/published everybody's favorite B's piano sonatas played by a beloved Beethoven pianist with an affordable price. Each person has a preference about who plays what....but I am staying with what I grew up with. Alfred Brendel brings out what (I imagine) a willful German composer created with his strong method. No sentiment or excessive fluency that shows the pianist's technical supremacy is present. I love it when musicians play for the composer rather than for themselves.

For the price, this CD set offers fine playing all around. Don't expect any great insights or revelations, though. These are nicely thought-out, middle-of-the-road performances from Brendel that are perhaps a bit bland but quite solid for the most part. If you need performances with a little more panache, try Artur Schnabel, Sviatoslav Richter, or even Maurizio Pollini.