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

asin: B0000041P9 binding: Audio CD list price: $16.98 USD amazon price: $16.98

Itzhak Perlman and Vladimir Ashkenazy play both of these pieces with unflagging virtuosity and impressive energy, bringing symphonic grandeur and scale to their account of the Kreutzer. The fingers and bow fly, yet Perlman never loses command of his tone. Recorded in 1973 and 1974, the readings are closely miked--so closely that one can literally hear the hair on Perlman's bow. The sound is weighty but clear, with excellent presence. --Ted Libbey

asin: B000EGFUZA binding: Audio CD list price: $17.98 USD amazon price: $18.09 USD

This is the second volume of András Schiff's projected recording, in chronological order, of the complete Beethoven sonatas. It comprises the three sonatas Op. 10 and the "Pathétique" Sonata Op. 13, all written between 1795 and 1798, but quite different in character and feeling. The first, in Beethoven's dramatic tonality of C minor, is turbulent; the second is light-hearted and humorous. The third is most expansive; in four rather than three movements, it includes a lyrical Menuetto with an all too short, delightful Trio, and a profound, grief-stricken slow movement. The "Pathétique," again in C minor, has become a popular favorite for its high drama and its beautiful, song-like middle movement. Its slow introduction recurs several times; Schiff regards it as a thematic and structural part of the movement and includes it in the repeat of the exposition. (He takes all repeats throughout, at times adding discreet ornamentation.) Schiff's playing, as always, is the essence of refinement and elegance. His virtuosity is invariably at the service of the music, even at headlong speeds; his tone sings with beguiling beauty. He commands variety of touch, articulation, dynamics, and inflection; melody and harmonic background are balanced perfectly. (The Angelo Fabbrini piano sounds clear, but less rich and mellow than the Bösendorfer he often uses.) He combines scholarly integrity with inward expressiveness, steadiness with poised liberties; his identification with Beethoven's changing moods is complete. Strangely enough, he subscribes to the old-fashioned habit of letting the left hand anticipate the right and tends to rush certain rhythms, especially before and after crossing hands. But these are minor flaws in masterfully controlled, deeply affecting performances. -- Edith Eisler