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  • Beethoven: Piano Sonatas Nos. 17, 21, 25 & 26, Opp. 31:2, 53, 79, 81a
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Beethoven: Piano Sonatas Nos. 17, 21, 25 & 26, Opp. 31:2, 53, 79, 81a Import


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Audio CD, Import, September 13, 1989
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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Beethoven: Piano Sonata No.17 in D minor, Op.31 No.2 -"Tempest" - 1. Largo - Allegro 8:39Album Only
listen  2. Beethoven: Piano Sonata No.17 in D minor, Op.31 No.2 -"Tempest" - 2. Adagio 7:52Album Only
listen  3. Beethoven: Piano Sonata No.17 in D minor, Op.31 No.2 -"Tempest" - 3. Allegretto 6:04$0.99  Buy MP3 
listen  4. Beethoven: Piano Sonata No.21 In C, Op.53 -"Waldstein" - 1. Allegro con brio 9:59Album Only
listen  5. Beethoven: Piano Sonata No.21 In C, Op.53 -"Waldstein" - 2. Introduzione (Adagio molto) 4:17$0.99  Buy MP3 
listen  6. Beethoven: Piano Sonata No.21 In C, Op.53 -"Waldstein" - 3. Rondo (Allegretto moderato - Prestissimo) 8:59Album Only
listen  7. Beethoven: Piano Sonata No.25 In G, Op.79 - 1. Presto alla tedesca 4:03$0.99  Buy MP3 
listen  8. Beethoven: Piano Sonata No.25 In G, Op.79 - 2. Andante 3:17$0.99  Buy MP3 
listen  9. Beethoven: Piano Sonata No.25 In G, Op.79 - 3. Vivace 1:41$0.99  Buy MP3 
listen10. Beethoven: Piano Sonata No.26 In E Flat, Op.81a -"Les adieux" - 1. Das Lebewohl (Adagio - Allegro) 7:12Album Only
listen11. Beethoven: Piano Sonata No.26 In E Flat, Op.81a -"Les adieux" - 2. Abwesenheit (Andante espressivo) 3:20$0.99  Buy MP3 
listen12. Beethoven: Piano Sonata No.26 In E Flat, Op.81a -"Les adieux" - 3. Das Wiedersehen (Vivacissimamente) 5:33$0.99  Buy MP3 

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Perhaps more of an advocate for contemporary music than any other major pianist essentially rooted in traditional repertory, Maurizio Pollini was born in Milan, Italy. He learned quickly and was given piano lessons from Carlo Lonati from an early age, making his public debut at the age of nine. Enrolling in the Milan Conservatory, he studied with Carlo Vidusso. In 1957 he performed a recital ... Read more in Amazon's Maurizio Pollini Store

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Frequently Bought Together

Beethoven: Piano Sonatas Nos. 17, 21, 25 & 26, Opp. 31:2, 53, 79, 81a + Beethoven: Piano Sonatas Nos. 13, 14 & 15 + Beethoven: Piano Sonatas Nos. 22, 23 (twice), 24 (twice) & 27, Opp. 54, 57, 78, 90
Price for all three: $79.82

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Product Details

  • Audio CD (September 13, 1989)
  • Number of Discs: 1
  • Format: Import
  • Label: Dg Imports
  • ASIN: B000001GB4
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #158,603 in Music (See Top 100 in Music)

Customer Reviews

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See all 6 customer reviews
He tends to be very restrained rhythmically, keeping himself judiciously metronomic.
Daniel Pi
This recital of middle-period Beethoven sonatas really tops the list - Kempff, Gillels, Gulda, Arrau, Gould... The reason is quite simple.
Abert
Such struggles are in the truest sense of the word `tempests." That is all about "The Tempest".
Anna Shlimovich

Most Helpful Customer Reviews

11 of 12 people found the following review helpful By Daniel Pi on February 17, 2010
Format: Audio CD
For those who don't know Pollini, he is the paragon of "universalism". He is reliably "very good" at a minimum, and occasionally brilliant. His razor-precise accuracy, consummate rhythmic drive, and tendency toward clarity make him well-suited for nearly anything you put in front of him. In particular, he seems to pay an in incredible amount of care and attention to voicing, and on that particular technical point, he is second to none. He always seems to delineate a clear "melodic" line, without any sort of sentimentalizing or other such nonsense.

Of course, Bach and Beethoven are frequently troublesome for non-specialists, because they require a rather particular approach, confounding the otherwise portable talents of "universalists" like Pollini. To wit, I would classify Pollini's recent Bach effort in the "good enough but not great" category. He just applies his generic polish and shine to the notes that Bach wrote, without really giving us very many new ideas. Standard tempos, standard articulation, standard everything. And I'm inclined to think that Pollini's Beethoven is also GENERALLY a weakness, though one yearns to have weaknesses so brilliant as Pollini's.

The exception then is THIS disc. To dig in a bit deeper, I am always surprised how disappointing the Waldstein and Tempest sound when played by otherwise brilliant Beethoven specialists. I'm thinking of Brendel, Kempff, Arrau, and Serkin, who are all brilliant in their other Beethoven efforts, but for whom these pieces seem to pose a unique challenge. I won't speculate too much on why this might be, but as a quick guess, I think the Tempest and Waldstein are deceptively episodic.
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8 of 11 people found the following review helpful By Abert TOP 1000 REVIEWER on July 5, 2009
Format: MP3 Music
This recital of middle-period Beethoven sonatas really tops the list - Kempff, Gillels, Gulda, Arrau, Gould...
The reason is quite simple. Pollini's vision of Beethoven's sonatas is utterly unique, and he is fully capable of transimitting his well-founded and profound vision into his playing. The pianoforte is transformed into a keyboard orchestra, and the different parts for different instruments playing their way under well-nigh super-human pianism in a composite whole; more composite than any conductor could ever manage.
Pollini's dynamics have much more depth than any other pianist listed above as a result of his super-power touching. The pianisimos are all there, fully audible, while the fortisimos roar in utmost thunder. His tempi are also nerve-wrecking, bringing out the wildest side of Beethoven's all too often underplayed music. Of all the pianists listed above, Friedrich Gulda comes closest to Pollini in terms of bringing out the deeply disturbing nature of these works; but Gulda's preference of a Borsendorfer in his recordings vastly limited his power of expression in terms of dynamics.
The ONLY drawback is, as one reviewer so succintly pointed out, the recorded sound.
Pollini's Beethoven sonatas are difficult to record, though. Alas, the era of LPs served him vastly better than digitisation.
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5 of 7 people found the following review helpful By A. F. S. Mui on June 21, 2009
Format: MP3 Music
What a lark! I've been listening to and playing this piece for more than 40 years. Brendel did a clinically precise performance in his recordng with Philips. But his hasn't got much poetry or prowess, much as I admire Brendel for his Mozart. His Beethoven simply isn't quite on par (as is his Schubert) with some other top players in the field.
Kempff's isn't that exciting either, but does have in store a fair amount of poetry.
Gillels' is a big rendition, but Pollini here matches Gillels' point by point, and exceeds Gillels' in terms of poetic expression.
If you want to listen to a 'breakneck' speed of Beethoven sonatas, go for Friedrich Gulda's second cycle now available on Brilliant Classics, in which mOST of the pieces were played at very fast pace. Even so, speed has nothing to deter a good interpretation of Beethoven if you are a real virtuoso like Gulda or Pollini. Beethoven's works CAN be played at great speed without any detraction from the score's requirements.
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