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Editorial Reviews
All 32 of Beethoven's piano sonatas performed by one of his greatest interpreters, Daniel Barenboim. Most sets need 10 CDs to cover this piano cycle, so ours is even more of a bargain!
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Most Helpful Customer Reviews
25 of 26 people found the following review helpful:
5.0 out of 5 stars
A Wonderful Beethoven Sonata Cycle,
By
This review is from: Beethoven: Piano Sonatas [Box Set] (Audio CD)
This is one of the lesser stars of my classical CD collection. I find Barenboim's playing rich in elegant technique and warmth. Unlike Brendel, he views Beethoven with a deep emotional richness that is quite apparent throughout the entire sonata cycle. Barenboim shows that he is as comfortable playing Beethoven's early sonatas such as the Pathetique as he is with the later, more complex works like the Hammerklavier. Only Claudio Arrau and Wilhelm Kempff surpass Barenboim's combination of superb technique coupled with warm, passionate performances. Yet Barenboim's Deutsche Grammophon Beethoven sonata cycle is available at a far lower price than either Arrau's or Kempff's.
7 of 8 people found the following review helpful:
3.0 out of 5 stars
There is still room at the top,
By
This review is from: Beethoven: Piano Sonatas [Box Set] (Audio CD)
To judge a huge labour of this kind with very few words is not only unfair, but futile. The fact that Barenboim submitted himself to it for the second time, after a well-received earlier set for EMI, indicates that he is having second thoughts about his interpretation. And so the first issue a potential buyer would wish to know is: Does the mature Barenboim convey new insights that were lacking in the earlier enterprise? It is better recorded, from the perspective of sound? And finally: how does fare in the competition?
The answer to two of the questions is "yes". But it isn't an unalloyed blessing. The sound is better, clearer, sharper etched than in the EMI set, but also a little more concentrated on the top register. As a result, the piano occasionally sounds clangy - metallic rather than ivory, if you know what I mean. This happens more often in the heavier works of the late middle period. Some ears might feel this as a discomfort. The new insights are also of the mixed sort. In some of these works, Barenboim seems to take himself and his responsibility rather too serious. He is inclined to over-dramatise (e.g. the Appassionata) or else to over-interpret in the romantic sense (e.g. No. 31). These examples are not the only ones. Indeed it could be said that the major difference between these two cycles is, that the young Barenboim occasionally took the music too seriously. Of the two attitudes, it seems the lesser fault. But these comments don't by any means cover the whole spectrum of 32 sonatas. On balance, I prefer the new set over the old one. I can wear the introspective habit on isolated occasions, i.e. not listening to three or five sonatas in a row. Then the more considered approach of mature habit lends greater depth. If you listen to several sonatas in a row, it can become an irritant. But I think if the listener is judicious, the benefits outweigh the demerits. A good case in point (for the sake of making a decision on what you like or dislike) is facilitated by taking some of the less often played works. Sonata no. 7, for example, benefits greatly by Barenboim's rhetorical treatment, especially in the slow movement. It works less well in the "Moonlight" Sonata, which is treated in somewhat offhanded manner, as if the pianist thought of this as just once too often played. I have no idea what was in his mind when he recorded the "operatic" scenes of No. 16. He is entirely humourless here, in one of Beethoven's witty (or sardonic) works. In No. 30 and 31, he tends to over-romanticise the lyricism, making it sound more like Chopin than Beethoven. The high points are, I think, the Waldstein and Les Adieux Sonatas, both of them more outgoing and therefore less freighted with "deep thought". The Hammerklavier Sonata is also very good. By now you might have got the impression that this is a good, but perhaps not overly exciting survey. It might seem as if there is a pattern in these recordings of an artist, perhaps altogether too familiar with the music, searching inside himself for something new to say and only partially succeeding. Perhaps a lack of objectivity? Something of this sort would be my summing up. Admirers of Barenboim need have no hesitation; it is a sound investment to buy this set. Admirers of Beethoven might feel shortchanged, however. Too much Barenboim, too much silk and brocade; too much moodiness. You might come to feel that the two criteria of Beethoven interpretation: great passion or else a profound sense of grandeur, are missing here. That in the final analysis, the pianist is merely speaking aloud (albeit with his fingers) about his problems with interpretation. This leaves us casting about for other complete sets for comparisons. There are many; but not many that could be said to be indubitably superior. These sonatas span a life; they represent not only three epochs in the composer's life, but two complete changes of style. They might be the work of three composers. Here's the problem. A problem that cannot be settled by holding up the name Beethoven and clinging to one approach for the whole complement. In part this is a fault of the new set (mind you, the young Barenboim didn't find the measure of reflecting the changes of style either). I pick out three or four rivals whose work is, I think, impressive enough to be labelled "great". In this oeuvre, the "greatness" need not encompass every single composition. For example, Arrau's cycle is undoubtedy a profoundly accomplished mission, despite his heavy-fisted approach being somewhat overbearing in the youthful sonatas. The (not quite complete) cycle by Gilels will probably qualify as one of the supreme testimonies to the value of the gramophone, even though you have to put up with a few eccentric specimens of the art (No. 13, No. 31). Pollini's early set of the late sonatas is already a classic, and his slow accumulation of other sonatas likely to become another milestone (though again there are some strangely marred individual performances, e.g. the Appassionata). Probably the most adequate complete survey is that by Backhaus, the Beethovenian par excellence. Here you will have to put up with about a dozen rather poorly recorded sessions; but you may feel that it is a price worth paying for the rewards of the set. Let me end by saying that this set inspired respect rather than love. It offers a perspective on Beethoven more personal than most; it is also somewhat underpowered and perhaps too introspective for many tastes. It depends, in the end, on how many recording you already own, or wish to own. Barenboim is not a top recommendation if you want just one set (or even five). But if you draw two imaginary lines and put the "indispensable" recordings up top, the "dispensable" recording down the bottom, and the "good quality" in the middle, this is where you would probably end up putting this set.
6 of 7 people found the following review helpful:
5.0 out of 5 stars
Elegant & Sophistcated Beethoven,
By Scriabinmahler (UK) - See all my reviews
This review is from: Beethoven: Piano Sonatas [Box Set] (Audio CD)
Being used to heavy weight renditions of Beethoven Sonatas by Russian masters like Richter, Gilels, Vedernikov, Neuhaus, at first listening I had an impression that Barenboim's Beethoven is a little too light-weight, especially earlier sonatas, but after repeated listening I was quite taken by the noble beauty and delicacy of his playing. Waldstein, Moonlight & Pathetique Sonatas are exceptionally well played with refinement and inspiration. Only thing I can not stand in this set is Appassionata Sonata played like Chopin Nocturne, which made me nearly fall asleep! I like unpredictable and uncompromising Beethoven played with extreme contrasts by Richter and Gilels, but Barenboim's interpretation was a revelation and quite refreshing experience to listen to this set.
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