Beethoven Piano Your resource for the piano music of Ludwig van Beethoven

asin: B00004W9CK binding: Audio CD list price: $25.98 USD amazon price: $25.98 USD

If the "Hammerklavier" Sonata (No. 29), perhaps the most profound work ever written for the piano, were not on this disc, one would dwell on the singular charms of the rarely heard, two-movement Sonata No. 27 or the astonishing rightness of Solomon's interpretation of the Sonata No. 26, "Les Adieux." But the "Hammerklavier" is the touchstone of any Beethoven sonata cycle, and it's the rock upon which most pianists founder. Solomon meets its challenges as well as anyone who's every recorded it. Solomon may not match Artur Schnabel's intensity, but he's far superior technically, and he comes close to Claudio Arrau's depth and Wilhelm Kempff's poetry. Solomon is unique in bringing all these attributes to bear on a piece whose mysteries can never be encompassed in one interpretation. He captures the dynamism of the opening Allegro, makes the Scherzo a witty romp, and sustains the long, 22-minute Adagio with a flowing poetry that's breathtaking. The final fugue, played with superhuman ease by Solomon, for once seems an inevitable culmination of a timeless journey. An indispensable disc. --Dan Davis

asin: B000L21DN0 binding: Audio CD list price: $16.98 USD amazon price: $16.98 USD

These are aggressive, somewhat eccentric readings of these concerti. They are given performances of real fire, and Pletnev takes interesting liberties with dynamics. Sudden passages of very loud or very soft playing ensure that we will not be bored. At times he uses rubato the way an Italian tenor might, which is to say, interestingly but with dubious taste. There is a moment in the First Concerto's Largo that is taken so slowly it sounds as if something might have gone wrong with the CD. It appears that Pletnev has approached both of these works as exemplars of high Romanticism, whereas the first, in particular, looks back to Mozart. This is not to say that he does not play impeccably. His tone is always handsome and no matter how loudly he plays, he never distorts. Whether or not one agrees with his "re-interpretations," it is impossible not to be riveted. Pletnev says in the accompanying notes that his wish is that "every scream, every moment of joy" in the music "should be lived through as it's lived in our real lives." Those who know these concerti well might be surprised at how many screams Pletnev finds. The orchestra plays with great transparency under Christian Gansch. Nothing if not entertaining. --Robert Levine

author: John Puccio asin: B0008EZACG binding: Digital list price: $5.95 USD amazon price: $5.95 USD

This digital document is an article from Sensible Sound, published by Sensible Sound on January 1, 2002. The length of the article is 401 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.Citation DetailsTitle: Piano Concerto No. 5 "Emperor"; Piano Sonata No. 23 "Appassionata.". (sound recording review)Author: John PuccioPublication: Sensible Sound (Magazine/Journal)Date: January 1, 2002Publisher: Sensible Sound Page: 88(1)Article Type: Sound Recording ReviewDistributed by Thomson Gale

asin: B00004U35D binding: Audio CD list price: $34.98 USD amazon price: $34.98

When compact discs first came out, the first thing many longtime collectors wanted to know was, When does Schnabel's Beethoven become available? That the pianist's pioneering recordings of Beethoven's 32 Sonatas for Piano have been in print almost continuously since 1935 testifies to the esteem in which they continue to be held. Schnabel's performances are best heard in Pearl's five full-priced sets (about $180), rather than in EMI's less expensive box set (just under $80). Listeners who cannot afford such an investment owe it to themselves to investigate this two-disc sampler from Pearl, featuring Sonatas Nos. 8 ("Pathétique"), 14 ("Moonlight"), 15 ("Pastoral"), 21 ("Waldstein"), 23 ("Appassionata"), 26 ("Les Adieux"), and 29 ("Hammerklavier"). Schnabel was a founding father of musical modernism, which demanded that music be performed exactly as written, with the performer serving as no more than a transparent medium. Fortunately, Schnabel's ideology was not consistent with his practice. His softening of melodic contours, his free changing of tempos, his imaginative use of tone colors, his mailed-fist-in-a-velvet-glove power, and the unearthly beauty of his singing legato in pianissimo passages were those of a full-blown Romantic pianist. Certainly, no one ever served Beethoven's music better. Whether in the chain-reaction explosions of the "Appassionata," the sustained reveries of the opening movement of the "Moonlight," or the contrapuntal complexities of the finale of the "Hammerklavier," Schnabel never failed to demonstrate a genius for keeping the listener's ears in a state of perpetual expectation. --Stephen Wigler

author: Beethoven asin: B000LRYPS0 binding: Digital list price: $2.75 USD amazon price: $2.75 USD

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