Customer Reviews

Beethoven: Sonataen - Waldstein, Les Adieux, Appassionata

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When this recording of the Appassionata was first released in 1974, it was greeted with almost unanimous acclaim. It was a revelation to me personally because it was the first time that I actually realised how the piano could be played. With the Waldstein, the Appassionata is one the towering works of Beethoven's middle period.

The Les Adieux is either the final or next to final sonata of that period, depending on whether or not you think of the next after the Les Adieux, no. 27 Opus 90, as the first of the final "late" period of the composer's Piano Sonatas.

All of the three are difficult to play with some passages in the Waldstein being next to impossible on a modern piano. Suffice it to say that Gilels' playing is superb, almost beyond belief at times. Witness the final coda of the Appassionata, those fortissimo chords followed by the very rapid chords are miraculously played.

However, I can imagine that some might find the sheer sense of control, and particularly rhythmic control, and discipline that Gilels brings less attractive than the more frenetic Richter, Serkin or any number of more volatile readings.

With Gilels we are more in the realms of viewing these great compositions from an architectural point of view, so sound is his sense of structure. There is a tremendous sense of security and even predicatability here. For me, that is intensely satisfying and makes the impact of the music something that goes way beyond the pianistic achievement.

It is, of course, a terrible pity that Gilels died before finishing the whole series. He had recorded most of the sonatas and the outstanding ommission is the very last one, opus 111. That's bad enough, but when I read in Richter's notes that Gilels, with whom he had a longstanding and very difficult relationship, died as a result of a medical mishap in Moscow, the pity turns to a tragedy. Gilels was due to complete the series within a few months of his death in time for his 70th birthday in October 1986 - he died in October 1985. My question is - is this true?

Nonetheless, whatever one's preference is in terms of an approach to Beethoven's piano works, give this disc a shot. I think it is a classic.

This recording represents a pillar in the classical music world. The performances of these all-time classic sonatas of Beethoven are interpreted with technical mastery, grand sound, and magnificent sensitivity. Gilels, as always, shares with us a most intimate portrait of Beethoven. This is definitely an authoritative reading and recording.

This is a very finely played CD of these 3 great sonatas by Beethoven. Gilels uses a great deal of color throughout the works. The playing on this CD of my favorite recordings of these pieces. The Appassionata has many other rival recordings, but I believe the Waldstein and the Les Adieux stand alone. Overall a great recording!!!

This is a wondrous CD. In particular, Gilels's recording of the Appassionata is my unquestionable, absolute favorite of all those I have heard (on the order of 10).

Unfortunately , he did not record all the beethoven sonatas . The same thing happened with Gilels , he left 5 of sonatas without record at the time of his death.There are more things in common between this two pianist , the puissant treatment of the keyboard ,typical from the russian school ,where the dynamic gives brakes and accelerations , at the right time , in the right places , bringing vitality and contemplation together!. This two adjectives are not easier to find in the same interpretation! I was very gratified when I listened this cd for the first time .Although I was used with different pianists like Pollini and Richter , I thought it outstanding. Even though I had this 3 sonatas with Pollini , I bought this cd with Gilels. NO REGREAT , NO REMORSE. Despite the fact of my great respect about C . Arrau , I don`t like his interpretations of beethoven . I feel like if he never " take off" , always in the same mood ( too slow !). In my humble opinion , it`s not express agreement with Beethoven ideas , and behavior.

DG has yet to reissue this CD in the remastered format that is offered in the box set but it does not matter: the sound from 1972 is excellent. Moreover Gilels' supremacy in the earlier sonatas is open to debate. His Pastoral, for instance, sounds laboured. It might be an idea to collect the individual CDs judiciously. Other than this disc in question, the imperatives are Opus 101 and the Hammerklavier.

Gilels' Les Adieux is a masterly performance and little needs to be said. Over time, I have grown less fond of this Appassionata and in particular, its finale: its technical excellence notwithstanding, it is not quite the Mephisto Waltz that is the Richter version from 1960 Brahms: Piano Concerto No. 2 / Beethoven: Piano Sonata No. 23,Op.57 ~ Richter. Gieseking in his devilish May 1939 performance is also more attuned to the voices from the Underworld Beethoven: Piano Concerto No. 5 in E Flat Major, Op. 73 "Emperor" / Piano Sonata No. 23 in F Minor, Op. 57 "Apassionata" (Studio Recording, May 1939). (BTW, I urge you to track this disc down - it's astounding. Gieseking must have been playing with his fingers and toes on the day - how else does one explain such a torrent?)

I thorougly adore Gilels' Waldstein. It is becalmed throughout with majesty. The Messianic encounter that occurs at 6'24" in the finale is reason in itself to acquire this disc. I have listened in vain to the Pollini, Horowitz et alia to come anywhere close to this stupendous reading and they all fall short.

All in all, great stuff.

I was not able to get this CD right away when I first looked for it years ago. So I bought Gilels's entire Beethoven set (not quite the complete piano sonata cycle and of uneven quality) specifically for these performances and that of his Hammerklavier. Gilels attacked these challenging pieces with Herculean strength and the pure nobility is arresting. First the structure - he fully grasps Beethoven's architectural vision and paints the breathtaking landscape with supreme confidence. That is, of course, upon your initial listening. On the 100th critical review, the listener will be hard pressed to fail to discover more of the boundless wisdom that Beethoven generously dispensed through these Olympian musical notes as brought to life by the fearless Gilels. I can apply endless superlatives from profound poetry to exquisite technique to try to describe this recording. But each time I walk away from this recording, the overwhelming sensation quite simply translates into a smile on my face - a smile at how Gilels plays the concert grand like a child's instrument being tossed in his massive hands. And I feel utterly exhilarated. Now, that is the essence of Beethoven, my friends. For you audiophiles out there, the sound quality of this 70's recording is superb.

Best interpretation of the Waldstein sonata. The Appassionata and Les Adieux are as excellently played as the Waldstein and together make an incredible album. When Gilels plays Beethoven everything sounds perfect, or at least it sounds perfect to me.
You can't go wrong with this one. Please do not hesitate if you like Beethoven, his piano sonatas and a perfect interpretation.

Specifically for the "Waldstein" I believe this is by now unquestionably the standard. Gilels achieves maximum impact with minimum bombast. He is gentle and forceful by turns, but at all times exhibits a Bach- and/or Mozart- like precision whilst maintaining Beethoven's unique spirit... that pure passion of the early Romantic era combined with the discipline of the Classical era that overlapped the composer's own life.

A must-have recording for any Beethoven piano fan, if only for the Opus 53 (Sonata 21, C)

I have listened only to Gilels' recording of Les Adieux, which I am in the process of preparing for performance. To me, it lacked warmth. Of course, technically it was impressive.