arrau

Brahms - Piano Concerto No. 1 Op. 15 / Beethoven - Piano Sonata Op. 53 "Waldstein" - Basil Cameron

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JOHANNES BRAHMS
(1833-1897).

Piano Concerto No.1 in D minor Op.15:
1 - I. Maestro
2 - II. Adagio
3 - I. Rondo: Allegro non troppo.

LUDWIG VAN BEETHOVEN
(1770-1827).

Piano Sonata No.21 in C minor Op.53 "Waldstein":
4 - I. Allegro con brio
5 - II. Introdizione: Adagio molto
6 - III. Rondo: Allegretto moderato Prestissimo.

CLAUDIO ARRAU, piano.
The Philarmonia Orchestra,
BASIL CAMERON.

Ludwig van Beethoven: Piano Sonatas

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This deluxe four-CD set showcases Beethoven's most popular piano sonatas in classic, contrasting performances by some of the 20th century's greatest keyboard soloists. If Bach's "Well-Tempered Clavier" comprises music's Old Testament, Beethoven's 32 Piano Sonatas constitute the New Testament.

Beethoven: Piano Sonatas Op.53 Waldstein & Op.109

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1-3.sonata no.1 in c op.53.4.andante favori op.57/5-77.sonata no.30 in e op.109

Beethoven: Piano Concertos Nos. 3, 4 & 5

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Claudio Arrau Plays Beethoven, Schumann, Schoenberg

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Beethoven: The 32 Piano Sonatas; Variations

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Steinway Legends: Claudio Arrau

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Claudio Arrau in Germany: Pre-War Recordings

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Along with Marston's invaluable reissue of Arrau's early studio recordings, these radio broadcasts from the late 1930s add to our knowledge of one of the century's greats. The younger Arrau was a more overtly virtuosic pianist than the later, more philosophical one on his Philips recordings, but the seriousness of his interpretive approach shines through. The Beethoven sonatas, for example, are weightier in his later recordings, but we can still revel in his unique depth of tone and refusal to settle for surface glitter, a rare trait in a virtuoso of Arrau's technical accomplishments.

Beethoven: Complete Concertos Vol. 2

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The Final Sessions

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Claudio Arrau Plays Mozart Sonata No 8 & Beethoven Sonata No 32

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VAI 4388 Mozart: Sonata No. 7 in A minor, K.310, Beethoven: Sonata No. 32 in C minor, Op. 111. Bonus: Arrau interview. Telecast of March 5, 1964, 60 min., B&W, All regions.

Schumann Piano Concerto & Beethoven Piano Sonata No. 32 / Arrau

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Liszt: The Piano Concertos, Beethoven: Piano Sonatas 10, 19, & 20

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Beethoven: Sonatas for piano No29; Sonatas for piano No3

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Sviatoslav Richter was devoted to Beethoven and kept nearly two dozen of the composer's 32 sonatas in his active repertory. But some sonatas--such as No. 3 in C Major (Opus 2, No. 3), No. 7 in D Major (Opus 10, No. 3), and No. 32 in C Minor (Opus 111)--turned up on Richter programs decade after decade, while others appeared for a season or so never to return. Richter's relationship to Sonata No. 29 in B-flat (Hammerklavier) belongs to the latter category. He performed it all over Europe in the spring and summer of 1975 and seems never to have programmed it again. One wonders why. Richter was designed by God to perform the Hammerklavier. He had the huge hands necessary for its reckless leaps, the strength and stamina for its marathon length, and the intellect necessary to make lucid its grinding dissonance and (in the finale) its pounding counterpoint. Perhaps Richter thought that at 60--his age when he began to program it--he was a little too old for the Hammerklavier. Certainly, even a Richter enthusiast can be forgiven for wishing the pianist had turned to the piece 10 years earlier. Still, the pianist's Hammerklavier is heroically grand and fiercely energetic. Of the three performances of the sonata that Richter gave in a two-week period (and that have been preserved on disc) in London, Prague, and Aldeburgh (this disc), this recording is probably best-suited to most listeners. While not as exciting as the risk-taking Prague performance, it is much better recorded and more accurate. It also contains several bonuses: beautifully played versions of Beethoven's Sonata No. 3 and of three bagatelles from the composer's Opus 126. --Stephen Wigler

Beethoven: The Violin Sonatas

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Beethoven: Sonatas for piano No29; Sonatas for piano No28

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Vladimir Feltsman has definite ideas about the Hammerklavier and the ability to carry them out, not something we can take for granted. He plays the first movement with emphasis on rhetoric, occasionally sacrificing forward motion, but certainly making his points. There is no sacrifice of motion in the horrendously difficult finale, though, where the pianist keeps the music going with great power and impressive clarity. Only the slow movement requires the degree of eloquence that we hear throughout No. 28, a treasure of a performance. This is some very impressive Beethoven playing, very well recorded. --Leslie Gerber

Beethoven: The Piano Concertos

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Each of these performances has its own profile. The orchestra plays incisively in the First Concerto, but Ashkenazy's plush lyricism doesn't make a good match either with the orchestra or with the music, and he makes one weird ritard in the first movement. The Second Concerto is uneventful, rather bland and pleasant. The Third Concerto seems to be the best performance of the lot, with dramatic playing by soloist and orchestra, but it's sabotaged by blurry recorded sound, the only serious problem with sound quality in the entire set. The Fourth Concerto is enlivened, at least intellectually, by Solti's approach, constantly revealing interesting unfamiliar details in the orchestral score. Ashkenazy's detachment makes this a frosty but fascinating experience. The "Emperor" is a good routine performance, nothing special. The Bagatelles aren't much of a bonus, since they're rather dully played. (Why not the "Choral" Fantasy?) There's nothing actively bad about this set, and it's reasonably priced. But Beethoven deserves better, and gets it from many performers, including the fascinating Uchida-Sanderling collaborations. --Leslie Gerber

Beethoven 8 Variations on the Trio "Tandeln und Scherzen" by Sussmayr for Piano: Instantly download and print sheet music

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Downloadable sheet music file

Moonlight Sonata, Op. 27, No. 2 Complete (Alfred Masterwork Edition)

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Complete original "Moonlight" sonata by Beethoven. Excellent background and performance notes.

Stokowski Transcriptions: Bach, Beethoven, Boccherini, etc.

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