Customer Reviews

Beethoven: Piano Sonatas Nos. 22, 23 (twice), 24 (twice) & 27, Opp. 54, 57, 78, 90

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

 

 

Pollini is quite uncompromising in these recordings, and that alone will put some listeners off. But there is also an irresistible drive and fury in these recordings, something you could also imagine from Beethoven himself. These are anything but cold readings; most of them appear to me as white-hot performances. Opus 90 is intense rather than intimate, but always fascinating, Pollini makes a no-brakes ride through op. 54 and gives a tilt or two to the Appassionata, especially in the (additional) live recording! That live Appassionata in particular testfies of a terrifying forward-pushing drive that culminates in total cataclysm in the coda - few have characterised the sonata as well as Pollini does here. It's a most spectacular no-brakes performance, and that without the eccentricities of Richter's famous recording (which is too fast to begin with). The op.78 is a little strange - like many performers, Pollini has some troubles with the weird second movement, which is just too serious here (Gould and Kempff are about the only ones who really got this one right). But these discs would be worth their price even for the Appassionata alone, so don't miss them.

Pollini, as opposed to many other great pianists, never recorded the 32 Beethoven sonatas as a "grand project". Every once in a while there's a new DG CD where Pollini provides us with a collection of 3-4 sonatas, and each and every time it's worth the wait... This time - it's the Appassionata and the three unique 2-movement sonatas - the opp. 54, 78 and 90. Pollini, as always, deeply understand the unique individuality of these sonatas, and the result is non-plus-ultra performances.
In the appassionata he carries the drama of the first and last movements while never neglecting to provide the most careful phrasing, the most subtle dynamics and the most appropriate articulation of tone. In the second movement, the theme with variations, the build-up is so carefully planned that the sense of "inevitability", the magical "this is IT!" is unavoidable, and when the theme comes back at the end with slight variations (a trick that Beethoven repeated in op. 109), one really feels that it became "wiser", it knows more now.
All three diamond-cut 2-movement sonatas are fantastically performed - the truly enigmatic op. 54 with its elusive menuet con trio 1st movement, and the "perpetuum mobile" second movement; Op. 78, one of Beethoven's favorites and its serene 1st movement and witty second one; and the op. 90 - a great masterpiece where one mevement gives us a tragedy of Shaekespearean dimensions and the in the second the sun always shines and the lyrical content would make Schubert almost jealous...
I'm not a religious man, but when it comes to great music like this, played with brain, heart and hands like Pollini's, well, for me that's as close to "heavenly" as it gets... I hope you enjoy it as much as I do.

Since I'm not a patented reviewer (and by the way, I haven't read any comments on this album yet and I'm very anxious to do so), simple music lovers like me might want to wait for reaction from those guys. Anyway here is my word.

First, even if I hold Pollini as one of the great pianists of our (and all) time, I do not like all of his recordings and I'm not to say it's good because it's Pollini. But this time I just can't find the words to describe the experience of my first listening of this album. I've been collecting recorded music for over 25 years and heard some wonders, but I don't remember to have had such a reaction on a first listening of an (other) execution of such a well known piece of music (the Appassionata).

Going throught the highlights of the piece as if the taxi was waiting for him, (suggesting that the essential is somewhere else), the pianist concentrates himself on the «inner parts» of the work (those parts where you usualy start wandering if our father is doing the right thing by trading is old car) where he unleashes his stunning, unmatched virtuosity to make you realize that you hadn't heard half of the thing until now! And what an incredible experience ALL THE WAY THROUGHT!

I would not suggest this album to someone who's just coming to these Beethoven's works (or to classical music). But for those like me who already own half a dozen different recordings of that (those) work(s), don't worry, you won't mix up this Appassionata with any other in your collection.

Exceptionnaly (on Pollini's recordings) the sound is on a par with the performance. And the bonus CD is a real nice gift.

Please excuse my average english.

I absolutely concur with the great taste of the reviewer below. This is the most extraordinary interpretation of the Appassionata that I have ever heard. As with my experience of Richter's recording of the Hammerklavier, it is as if I am hearing the piece for the first time. In a collection of Appassionatas which includes recordings by Richter, Gilels, Moravec, Kempff, Rubenstein, and others less memorable, this soars to the top as an immediate classic. In fact, the experience of the entire disc has the same frisson of Pollini's classic late Beethoven sonatas set. The DG recording quality, as has been the case with Pollini's discs going back now to his Debussy Preludes recording, is exquisite.

Atop the virtual mountain of recordings of the Appassionata, Pollini has managed to place his flag. There will never be a definitive performance of this masterpiece (Moravec's is unsurpassable in its own way, too), but I concur fully with the praise that the other reviewers have heaped on Pollini's superb rendition.

However, the other three sonatas are great works, too, notwithstanding the fact that they are often treated as if they were merely excellent and pleasant and, perhaps as a result of their not being particularly stormy, not weighty enough to merit nicknames. There is true magic in the F-sharp major sonata (Beethoven himself felt that the public did not fully appreciate it). Underlying its simple beauty is a profundity that foreshadows the late masterpieces to come. The E-minor sonata is also extraordinary, as Schnabel and Moravec, and now Pollini, have understood. And in Pollini's hands, the F-major sonata becomes far more than just the sonata that falls between the Waldstein and the Appassionata. This is the best performance of the opus 54 that I have ever heard. Even without the Appassionata, this disc would be a must-have.

And two discs for the price of one? The disc with the concert performances is itself worth full price.

I am very glad this disc has been so well received. Maurizio Pollini is along with Marc-Andre Hamelin my very favorite pianist, probably ever (yes I've done my research), and no I can't choose between them... Op 78 is incredible. Op 54, always a favorite of mine, is incredible. Op 57 "Appassionata" is about the best I've ever heard it. Both performances here, one studio, one live, are great in their own ways, both are something very extraordinary, but the studio recording wins me over most often, but then when I listen to the live performance I am overwhelmed by the obvious inspiration and heat of the event. Op 90 is also, of course, very good. It's amazing, his sense of style, structure, how every note and every musical line is audible and registers completely in the overall musical picture.

Much has been said about Pollini's rendition of Beethoven Sonatas cycle performed at Carnegie Hall. After the album dedicated to the "Diabelli Variations", this two-cd set allows us to recapture a substantial part of the passion this musical event carried out.

The whole album sounds like an emotional confession. This impression is accentuated by Pollini's humming (particularly perceptible through headphones in the live version)whih anticipates the music phrases and underscores the passionate fibre of the enigmatic pianist. But the core of this album is certainly the "Appassionata" (live and studio recordings) around which gravitate sonatas No. 22, 24 and 27.

Pollini's concentration is such that he calls our attention from the very first note, leading us irresistibly from one movement to another. Have we ever listened to such a transparent "Appassionata". The musical lines are treated with an obsessive, almost fanatical effort to sort out the global structure of the piece. One may catch a glimpse of Bach's universe and hope that, in the near future, Pollini will gratify us with an unprecedented version of the WTC.

Coming bach th the legendary (already) interpretation of Beethoven last piano sonatas Pollini gave more than twenty years ago, a fascinating experience is to listen to them immediatey after this album and to end with the "Diabelli Varitions". Listening to these three albums reveals the continuous line of parenthood which links Beethoven piano sonatas together. Amazing!

This is a fantastic album and a great value. Form my money there is no one I'd rather hear play Beethoven than Pollini. Many say he lacks passion, poetry, etc. I counter by saying that many pianists who in their opinion play with "passion" simply hide the shortcomings of their technique behind histrionics. Pollini, on the other hand, oozes technique, and his Beethoven is better for it. But if it's passion you want, listen to the live tracks on this disc, especially the 'Appassionata', which is utter frenzy.

Yesterday I told to my friend: listen to this! And I played loudly on my car stereo the 5th movement of the "Appassionata" - the live one, on the bonus cd. At the end she told me: "that's heavy metal!".

I bought the cd in a general store, about 6 euro. I didn't know the "Appassionata". I listened some times to the studio cd and I liked it.

Then one day I discovered the second cd. Yes, I didn't notice it was there. I was happy because of 2 cds for 6 euros! But I thought it was no good, as it usually is for "bonus" tracks.

So I listened whitout much conviction, I skipped now and then and finally arrived at the 5th movement. And I falled in love with it.

This morning I was driving to job and I was singing it - don't ask me how to sing a piano sonata, but I did (and if you listen well, about in the 6th or 7th minute of the live 5th movement you can here somebody singin' as well...).

Yes, it's true: the live version is so "dirty" if you compare it with the studio one, but at the same time is ten thousand times better! It speaks to your heart! If I could, I would thank both Beethoven and Pollini for this!

Pat, Italy (33)

Until I listen this CD I always thought that Arhur Rubinstein (RCA VICTOR) had made the best apassionata's recording.

But today, I listened the best apassionata.


Pollini with this record, one more time, emphasized the details in each sonata, especialy in 'apassionata', making Beethoven pieces more beautiful.

I think that the composer would be very glad listening Maurizio Pollini playing his music!!