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Track Listings
| 1. Piano Sonata No. 5 in C minor, Op. 10/1: 1. Allegro molto e con brio |
| 2. Piano Sonata No. 5 in C minor, Op. 10/1: 2. Adagio molto |
| 3. Piano Sonata No. 5 in C minor, Op. 10/1: 3. Prestissimo |
| 4. Piano Sonata No. 11 in B flat major, Op. 22: 1. Allegro con brio |
| 5. Piano Sonata No. 11 in B flat major, Op. 22: 2. Adagio con molt'espressione |
| 6. Piano Sonata No. 11 in B flat major, Op. 22: 3. Menuetto |
| 7. Piano Sonata No. 11 in B flat major, Op. 22: 4. Rondo: Allegretto |
| 8. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: 1. Andante con variazioni |
| 9. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: 2. Scherzo. Allegro molto |
| 10. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: 3. Maestoso andante, marcia funebre sulla morte d'un eroe |
| 11. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: 4. Allegro |
| 12. Piano Sonata No. 26 in E flat major ('Les Adieux'), Op. 81a: 1. Das Lebewohl. Adagio - Allegro |
| 13. Piano Sonata No. 26 in E flat major ('Les Adieux'), Op. 81a: 2. Abwesenheit. Andante espressivo (In gehender Bewegung, doch mit viel |
| 14. Piano Sonata No. 26 in E flat major ('Les Adieux'), Op. 81a: 3. Das Wiedersehen. Vivacissimamente (Im lebhaftesten Zeitmaße) |
Editorial Reviews
Review
A young virtuoso and poetic pianist of the first order... --Chicago Sun Times
Product Description
One of the most exciting pianists of the younger generation, American Jonathan Biss is widely regarded for his artistry, musical intelligence and deeply felt interpretations, winning international recognition for his orchestral, recital and chamber music performances and for his award-winning recordings. He performs a diverse repertoire ranging from Mozart and Beethoven, through the Romantics to Janácek and Schoenberg as well as works by contemporary composers. This marks the debut release in Biss complete cycle of Beethoven s piano sonatas for Onyx. The first volume features three works from Beethoven s early period and one from the middle the famous Les Adieux, Op.81a in E-flat major. This fascinating program illustrates how Beethoven s sonatas developed from the early, virtuosic works of the 1790s to the assured compositions of his middle period.
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Most Helpful Customer Reviews
12 of 13 people found the following review helpful
Format:Audio CD
Jonathan Biss has set about recording all 32 Beethoven piano sonatas. This CD is Volume 1 and an auspicious opus it is. The artistry of this young artist grows steadily and his mastery of the Beethoven sonatas is recognized throughout the world. The selection of how these volumes will be organized is doubtless due in part of Biss' input. This Volume I offers sonatas that in tis sequence sound as though they have not been performed better by any pianist: if that sounds like puffery then treat yourself to this Volume and be stunned. The cycle of the 32 sonatas will be spread over 9 discs and released over the course of 9 years. To quote Biss' liner notes the cycle represents '32 masterpieces, 32 distinct structures, 32 fully realized, often awe-inspiring, always unique emotional universes. As individual works, each is endlessly compelling on its own merits; as a cycle, it moves from transcendence to transcendence, the basic concerns always the same, but the language impossibly varied.'
Jonathan Biss is only thirty one years old and he has said that the project's lengthy span is due to his being reluctant to record the sonatas until he has performed each of them live, giving him the opportunity to study and live with them for a period of time before committing a performance to a recording. To date, he has performed 18 of the sonatas live. 'No matter when I started, recording the complete Beethoven Sonatas was always going to be daunting. But given that I've now been working on this music for 20 years, and that not a day goes by when its beauty, grit, and sheer force of personality fail to take hold of me, I felt that now was as good a time as any. The challenge remains enormous, but the elation in playing Beethoven is like no other feeling and makes the challenge well worth it'.
The works on this album are Piano Sonata No. 5 in C minor Opus 10, Piano Sonata No. 11 in B flat major Opus 22, Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26, and Piano Sonata No. 26 in E flat major ('Les Adieux'), Op. 81a. Each dazzles, each mesmerizes, and each is completely satisfying even to the most critical ear. We can eagerly await Volume II. Grady Harp, January 12
Jonathan Biss is only thirty one years old and he has said that the project's lengthy span is due to his being reluctant to record the sonatas until he has performed each of them live, giving him the opportunity to study and live with them for a period of time before committing a performance to a recording. To date, he has performed 18 of the sonatas live. 'No matter when I started, recording the complete Beethoven Sonatas was always going to be daunting. But given that I've now been working on this music for 20 years, and that not a day goes by when its beauty, grit, and sheer force of personality fail to take hold of me, I felt that now was as good a time as any. The challenge remains enormous, but the elation in playing Beethoven is like no other feeling and makes the challenge well worth it'.
The works on this album are Piano Sonata No. 5 in C minor Opus 10, Piano Sonata No. 11 in B flat major Opus 22, Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26, and Piano Sonata No. 26 in E flat major ('Les Adieux'), Op. 81a. Each dazzles, each mesmerizes, and each is completely satisfying even to the most critical ear. We can eagerly await Volume II. Grady Harp, January 12
4 of 5 people found the following review helpful
4.0 out of 5 stars
Very fine playing that remains a bit limited by being so cultivated
September 23, 2012
Format:Audio CD
Biss has set out, or is perhaps destined, to reflect the legacy of Rudolf Serkin, and now at 32 he has begun a complete Beethoven sonata cycle, something Serkin never fulfilled. Because of his gold-plated musical pedigree, with distinguished musicians in his family (his mother is the violinist Miriam Fried) and equally distinguished teachers (including Leon Fleisher), Biss is continuing a tradition that goes back to the great generation of Jewish immigrants fleeing Nazi Germany. They formed the basis of classical music culture transplanted in full flower from Europe to America.
I mention this because Biss carries the weight of tradition more than the usual Curtis Institute graduate with great skill and teaching. When I've heard him live, it was uncannily like the spirit of Fleisher or Serkin, with the same respect and sobriety toward the great Austro-German composers but more than that, the feeling that Biss loved and felt the music the way his predecessors did. So, has all of that translated into Beethoven playing of remarkable accomplishment?
The answer doesn't come easily, for me, at least. I was very enthusiastic about Biss's early EMI recordings, where his style in Beethoven, Schubert, and Schumann was delightful - natural, knowing, always involved. That impression isn't erased here, but I'm not sure that it's been deepened, either. The two earliest sonatas, Op. 10 no. 1 and Op. 22 are done with poise and careful balance, but I could get the same from Richard Goode, a model of correctness whose playing doesn't soar or venture into personal territory. The recorded sound is very good and (as with Serkin) quite close up, which reveals every detail of Biss's touch. On that score, there is nothing to fault. If only the interpretations could stick their necks out a bit. We already have Paul Lewis to show the middle way.
It's unfair for me to ask Biss to have a musical personality that isn't his own. Moving on to the Funeral March Sonata Op. 26, Biss's playing is remarkably even and tasteful; he's living up to his pedigree, no doubt. But the funeral march itself seems tame, even though it is marked "maestoso," majestic. In his earlier recording of the "Pathetique" Sonata, Biss found more depth and sorrow; no one is being buried here except perhaps a pet goldfish or canary. The last sonata on the program, "Les Adieux" Op. 81a, is a quiet, poignant masterpiece from the middle period, where masterpieces abound. Biss begins a bit blandly, but he rises to the energetic sections with convincing force, especially in the finale - it's the best thing on the program. Yet my impression remained of gilt-edged playing that doesn't exhibit enough personality or reach for much depth.
In the end, my personal taste takes secondary place. As with other pianists whose Beethoven mostly doesn't excite me (Goode, Perahia, Solomon, Kempff, Brendel), there are countless admirers and die-hard fans. Such clean, clear, intelligent, and musical playing deserves to be admired. Beethoven on disc is rich enough that I still have Serkin, Richter, Schnabel, Ginzburg, Gould, and Pletnev to inspire me. Bring on the originals.
I mention this because Biss carries the weight of tradition more than the usual Curtis Institute graduate with great skill and teaching. When I've heard him live, it was uncannily like the spirit of Fleisher or Serkin, with the same respect and sobriety toward the great Austro-German composers but more than that, the feeling that Biss loved and felt the music the way his predecessors did. So, has all of that translated into Beethoven playing of remarkable accomplishment?
The answer doesn't come easily, for me, at least. I was very enthusiastic about Biss's early EMI recordings, where his style in Beethoven, Schubert, and Schumann was delightful - natural, knowing, always involved. That impression isn't erased here, but I'm not sure that it's been deepened, either. The two earliest sonatas, Op. 10 no. 1 and Op. 22 are done with poise and careful balance, but I could get the same from Richard Goode, a model of correctness whose playing doesn't soar or venture into personal territory. The recorded sound is very good and (as with Serkin) quite close up, which reveals every detail of Biss's touch. On that score, there is nothing to fault. If only the interpretations could stick their necks out a bit. We already have Paul Lewis to show the middle way.
It's unfair for me to ask Biss to have a musical personality that isn't his own. Moving on to the Funeral March Sonata Op. 26, Biss's playing is remarkably even and tasteful; he's living up to his pedigree, no doubt. But the funeral march itself seems tame, even though it is marked "maestoso," majestic. In his earlier recording of the "Pathetique" Sonata, Biss found more depth and sorrow; no one is being buried here except perhaps a pet goldfish or canary. The last sonata on the program, "Les Adieux" Op. 81a, is a quiet, poignant masterpiece from the middle period, where masterpieces abound. Biss begins a bit blandly, but he rises to the energetic sections with convincing force, especially in the finale - it's the best thing on the program. Yet my impression remained of gilt-edged playing that doesn't exhibit enough personality or reach for much depth.
In the end, my personal taste takes secondary place. As with other pianists whose Beethoven mostly doesn't excite me (Goode, Perahia, Solomon, Kempff, Brendel), there are countless admirers and die-hard fans. Such clean, clear, intelligent, and musical playing deserves to be admired. Beethoven on disc is rich enough that I still have Serkin, Richter, Schnabel, Ginzburg, Gould, and Pletnev to inspire me. Bring on the originals.
1 of 1 people found the following review helpful
By paulacn
Format:Audio CD|Amazon Verified Purchase
I had purchased the cd based on comments made from a person who actually saw him in concert. I am a great fan of Beethoven and have played many of his sonatas over the years. I thought that Jonathan's playing was technically brilliant...would like to hear more 'feeling' in his playing. What was disappointing was that either the recording or piano thst he played on for the recording rendered the base chords 'tinny'. I don't think I'll risk purchasing another cd for this reason.
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