Beethoven: Complete Cello Music

1. Sonata for cello & piano No. 1 in F major, Op. 5/1
Composed by Ludwig van Beethoven
with Anthony Pleeth , Melvyn Tan

2. Variations for cello & piano in G major on Handel's "See, the Conqu'ring Hero comes," WoO 45
Composed by Ludwig van Beethoven
with Anthony Pleeth , Melvyn Tan

3. Sonata for cello & piano No. 2 in G minor, Op. 5/2
Composed by Ludwig van Beethoven
with Anthony Pleeth , Melvyn Tan

4. Variations for cello & piano in F major on Mozart's "Ein Mädchen oder Weibchen," Op. 66
Composed by Ludwig van Beethoven
with Anthony Pleeth , Melvyn Tan

5. Variations for cello & piano in E flat major on Mozart's "Bei Männern," WoO 46
Composed by Ludwig van Beethoven
with Anthony Pleeth , Melvyn Tan

6. Sonata for cello & piano No. 3 in A major, Op. 69
Composed by Ludwig van Beethoven
with Anthony Pleeth , Melvyn Tan

7. Sonata for cello & piano No. 4 in C major, Op. 102/1
Composed by Ludwig van Beethoven
with Anthony Pleeth , Melvyn Tan

8. Sonata for cello & piano No. 5 in D major, Op. 102/2
Composed by Ludwig van Beethoven
with Anthony Pleeth , Melvyn Tan

Tracks:

Rigaudon - Empire Brass
Sinfonia - Michael Murray
Toccata - Michael Murray
Wedding March - Michael Murray
The Prince Of Denmark's March - Michael Murray
Trumpet Tune In D Major - Michael Murray
Te Deum - Michael Murray
Ave Maria - Michael Murray
Canon In D Major - Yolanda Kondonassis
Jesu, Joy Of Man's Desiring - Yolanda Kondonassis
Prelude No. 1 In C Major - Yolanda Kondonassis
Entrance Of The Queen Of Sheba - Keith Clark
Air - Orchestra Of St. Luke's
Hornpipe - Orchestra Of St. Luke's
Rondeau - Empire Brass
Unchained Melody - Erich Kunzel
Through The Eyes Of Love - William Tritt
Love Theme From Romeo And Juliet - William Tritt
The Wedding Song (There Is Love - Danny Donnelly
Dodi Li - Shira Kammen

Tracks:

Rondeau - Michael Murray
Sheep May Safely Graze - Michael Murray
Ave Maria - Michael Murray
Gymnopedie No. 1 - Michael Chertock
Clair De Lune - Michael Chertock
Adagio Sostenuto - Michael Chertock
Largo - Angel Romero
Largo - Larry Cooperman
Largo - Keith Clark
Allegro - Boston Symphony Orchestra
Adagio In G Minor For Strings - Keith Clark
Fantasia On 'Greensleeves' - Leonard Slatkin
Adagio For Strings - Erich Kunzel
'Treulich Gefuart,' Bridal Chorus - Atlanta Symphony Orchestra And Chorus
Wedding March - Atlanta Symphony Orchestra

Customer Reviews:

GORGEOUS!.......2007-06-13

I wish this CD had been around when I was planning my wedding as it would have been great for helping the bride to select music! Still, it's wonderful to listen to now.

Wonderful intro To MEHDl ..........2006-06-08

I've always enjoyed Great Wedding music and this album is no exception, but while reading some of the customer recommendations posted on this site I discovered a group by the name of MEHDl (pronounced medie). After an online search I found their site (S00THINGMUSIC,C0M) and listened to the samples...
I was instantly blown away by the quality of this music and so I gave it a try and now that I have listened to these CDs several times I really must say that although I'm still a Tomaso Albinoni fan of, I find MEHDl to be a great addition to this CD. I had them both in my multi-disc CD player during the wedding and love the way they compliment each other. I highly recommend that you give this artist a try or atleast just go listen to the samples, I have a feeling you'll be glad you did.

great.......2006-02-19

Highly recommended. Even has suggestions for pre-ceremony, processional, ceremony, and recessional inside. 2 different versions of Midsummer Night's Dream march included - one with trumpet and organ and one with a full orchestra. Lots of great selections, well recorded.

The Complete Wedding Album.......2005-08-05

This album has a lot of great wedding music. It had all of the songs I was looking for. There also is great background music for the ceremony. Glad I purchased it

Almost the compete wedding album.......2004-05-07

I used this cd to help me plan which songs I wanted to use for each part of the wedding. This cd helps you suggest the placement for the prelude, processional, ceremony and recessional. The cd mainly has classical songs, but it does have a few of "today's" songs. There could have been a few more songs they could have added. But overall, its a good cd.

Beethoven: The Complete Piano Sonatas & Concertos

Average customer rating:

The one collection I cannot imagine being without
MASTERY
Magisterial... mystical
Beethoven + Arrau = Divinity
Beethoven himself would be proud.

Beethoven: The Complete Piano Sonatas & Concertos
Claudio Arrau , Janos Starker , Ludwig van Beethoven , Bernard Haitink , Eliahu Inbal , Concertgebouw Orchestra Amsterdam , New Philharmonia Orchestra , and Henryk Szeryng
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Liszt: Piano Works
Schubert: The Piano Sonatas
Chopin: The Piano Works
Brahms: Works for Solo Piano
Bach: Well-Tempered Clavier

ASIN: B00000C2F7
Release Date: 1999-11-09

Tracks:

Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 1 Allegro
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 2. Adagio
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 3. Menuetto. Allegretto
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 4. Prestissimo
Piano Sonata No. 2 In A, Op. 2 No. 2: 1. Allegro vivace
Piano Sonata No. 2 In A, Op. 2 No. 2: 2. Largo appassionato
Piano Sonata No. 2 In A, Op. 2 No. 2: 3. Scherzo. Allegretto
Piano Sonata No. 2 In A, Op. 2 No. 2: 4. Rondo. Grazioso
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 1. Allegro molto e con brio
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 2. Adagio molto
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 3. Finale. Prestissimo
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 1. Andante
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 2. Rondo. Allegro

Tracks:

Piano Sonata No.3 In C, Op.2 No.3: 1. Allegro con brio
Piano Sonata No.3 In C, Op.2 No.3: 2. Adagio
Piano Sonata No.3 In C, Op.2 No.3: 3. Scherzo. Allegro
Piano Sonata No.3 In C, Op.2 No.3: 4. Allegro assai
Piano Sonata No.4 In E Flat, Op.7: 1. Allegro molto e con brio
Piano Sonata No.4 In E Flat, Op.7: 2. Largo, con gran espressione
Piano Sonata No.4 In E Flat, Op.7: 3. Allegro
Piano Sonata No.4 In E Flat, Op.7: 4. Rondo. Poco allegretto e grazioso
6 Piano Veriations In F On An Original Theme, Op.34

Tracks:

Piano Sonata No.6 In F, Op.10 No.2: 1. Allegro
Piano Sonata No.6 In F, Op.10 No.2: 2. Allegretto
Piano Sonata No.6 In F, Op.10 No.2: 3. Presto
Piano Sonata No.7 In D, Op.10 No.3: 1. Presto
Piano Sonata No.7 In D, Op.10 No.3: 2. Largo e mesto
Piano Sonata No.7 In D, Op.10 No.3: 3. Menuetto. Allegro
Piano Sonata No.7 In D, Op.10 No.3: 4. Rondo. Allegro
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 1. Grave - Allegro di molto e con brio
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 2. Adagio cantabile
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 3. Rondo. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 1. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 2. Allegretto
Piano Sonata No.9 In E, Op.14 No.2: 3. Rondo. Allegro comodo

Tracks:

Piano Sonata No.10 In G, Op.14 No.2: 1. Allegro
Piano Sonata No.10 In G, Op.14 No.2: 2. Andante
Piano Sonata No.10 In G, Op.14 No.2: 3. Scherzo. Allegro assai
Piano Sonata No.11 In B Falt, Op.22: 1. Allegro con brio
Piano Sonata No.11 In B Falt, Op.22: 2. Adagio con molta espressione
Piano Sonata No.11 In B Falt, Op.22: 3. Minuetto
Piano Sonata No.11 In B Falt, Op.22: 4. Rondo. Allegretto
Piano Sonata No.12 In A Flat, Op.26: 1. Andante con Variazioni
Piano Sonata No.12 In A Flat, Op.26: 2. Scherzo. Allegro molto
Piano Sonata No.12 In A Flat, Op.26: 3. Marcia Funebre sulla morte d'un Eroe
Piano Sonata No.12 In A Flat, Op.26: 4. Allegro
Piano Sonata No.25 In G, Op.79: 1. Presto alla tedesca
Piano Sonata No.25 In G, Op.79: 2. Andante
Piano Sonata No.25 In G, Op.79: 3. Vivace

Tracks:

Piano Sonata No.13 In E Flat, Op.27 No.1: 1. Andante - Allegro - Tempo I
Piano Sonata No.13 In E Flat, Op.27 No.1: 2. Allegro molto e vivace
Piano Sonata No.13 In E Flat, Op.27 No.1: 3. Adagio con espressione
Piano Sonata No.13 In E Flat, Op.27 No.1: 4. Allegro vivace - Tempo I - Presto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 1. Adagio sostenuto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 2. Allegrettro
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 3. Presto agitato
Piano Sonata No.15 In D, Op.28 'Pastorale': 1. Allegro
Piano Sonata No.15 In D, Op.28 'Pastorale': 2. Andante
Piano Sonata No.15 In D, Op.28 'Pastorale': 3. Scherzo. Allegro vivace
Piano Sonata No.15 In D, Op.28 'Pastorale': 4. Rondo. Allegro ma non troppo
Piano Sonata No. 22 In F, Op.54: 1. In Tempo d'un Menuetto
Piano Sonata No. 22 In F, Op.54: 2. Allegretto

Tracks:

Piano Sonata No.16 In G, Op.31 No.1: 1. Allegro vivace
Piano Sonata No.16 In G, Op.31 No.1: 2. Adagio grazioso
Piano Sonata No.16 In G, Op.31 No.1: 3. Rondo. Allegretto
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 1. Largo - Allegro
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 2. Adagio
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 3. Allegretto
Piano Sonata No.18 In E Flat, Op.31 No.3: 1. Allegro
Piano Sonata No.18 In E Flat, Op.31 No.3: 2. Scherzo. Alllegretto vivace
Piano Sonata No.18 In E Flat, Op.31 No.3: 3. Menuetto. Moderato e grazioso
Piano Sonata No.18 In E Flat, Op.31 No.3: 4. Presto con fuoco

Tracks:

Piano Sonata No.21 In C, Op.53 'Waldstein': 1. Allegro con brio
Piano Sonata No.21 In C, Op.53 'Waldstein': 2. Introduzione. Adagio molto - Rondo. Allegretto moderato - Prestissimo
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Inroduzione col Basso del Tema. Allegretto vivace
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Variazioni I-XV
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Finale. Alla Fuga. Allegro con brio - Andante con moto
32 Piano Variations In C Minor On An Original Theme, WoO 80
Rondo In G, Op.51 No.2

Tracks:

Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 1. Allegro assai
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 2. Andante con moto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 3. Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 1. Adagio cantabile - Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 2. Allegro vivace
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 1. Das Lebewohl. Adagio - Allegro
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 2. Abwesenheit. Andante espressivo
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 3. Das Wiedersehn. Vivacissimamente
Piano Sonata No.27 In E Minor, Op.90: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Piano Sonata No.27 In E Minor, Op.90: 2. Nicht zu geschwind und sehr singbar vorgetragen
Piano Sonata No.20 In G, Op.49 No.2: 1. Allegro, ma non troppo
Piano Sonata No.20 In G, Op.49 No.2: 2. Tempo di Menuetto

Tracks:

Piano Sonata No.28 In A, Op.101: 1. Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo
Piano Sonata No.28 In A, Op.101: 2. Lebhaft. Marschmassig. Vivace alla Marcia
Piano Sonata No.28 In A, Op.101: 3. Langsam, und sehnsuchtsvoll. Adagio, ma non troppo, con affetto
Piano Sonata No.28 In A, Op.101: 4. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 1. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 2 Scherzo. Assai vivace - Presto - Prestissimo - Tempo I
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 3. Adagio sostenuto. Appassionato e con molto sentimento
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 4. Largo - Allegro risoluto

Tracks:

Piano Sonata No.30 In E, Op.109: 1. Vivave, ma non troppo - Adagio espressivo - Tempo I -2. Prestissimo
Piano Sonata No.30 In E, Op.109: 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
Piano Sonata No.31 In A Flat, Op.110: 1. Moderato cantabile molto espressivo
Piano Sonata No.31 In A Flat, Op.110: 2. Allegro molto
Piano Sonata No.31 In A Flat, Op.110: 3. Adagio ma non troppo
Piano Sonata No.31 In A Flat, Op.110: 4. Fuga. Allegro ma non troppo
Piano Sonata No.32 In C Minor, Op111: 1. Maestoso - Allegro con brio ed appassionato
Piano Sonata No.32 In C Minor, Op111: 2. Arietta. Adagio molto semplice e cantabile

Tracks:

33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Tema : Vivace - Variation I. Alla marcia maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation II Poco allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation III L'istesso tempo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IV Un poco piu vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation V Allegro vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VI Allegro ma non troppo e serioso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VII Un poco piu allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VIII Poco vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IX Allegro pesante e risoluto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation X Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XI Allegretto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XII Un poco piu moto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIV Grave e maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XV Presto scherzando
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVI Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVII
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVIII Poco moderato
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIX Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XX Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXI Allegro con brio - Meno allegro - Tempo I - Meno allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXII Allegro molto alla 'Notte giorno faricar' di Mozart
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIII Allegro assai
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIV Fughetta. Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXV Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVI
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVIII Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIX Adagio ma non troppo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXX Andante sempre cantabile
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXI Largo, molto espressivo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXII Fuga. Allegro - Poco adagio
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXIII Tempo di minuetto moderato

Tracks:

Piano Concerto No.1 In C, Op. 15: 1. Allegro con brio
Piano Concerto No.1 In C, Op. 15: 2. Largo
Piano Concerto No.1 In C, Op. 15: 3. Rondo. Allegro scherzando
Piano Concerto No.2 In B Flat, Op.19: 1. Allegro con brio
Piano Concerto No.2 In B Flat, Op.19: 2. Adagio
Piano Concerto No.2 In B Flat, Op.19: 3. Rondo. Molto allegro

Tracks:

Piano Concerto No.3 in C minor, Op.37: 1. Allegro con brio
Piano Concerto No.3 in C minor, Op.37: 2. Largo
Piano Concerto No.3 in C minor, Op.37: 3. Rondo. Allegro
Piano Concerto No.4 In G, Op.58: 1. Allegro moderato
Piano Concerto No.4 In G, Op.58: 2. Andante con moto
Piano Concerto No.4 In G, Op.58: 3. Rondo. Vivace

Tracks:

Piano Concerto No.5 In E Flat, Op.73 'Emperor': 1. Allegro
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 2. Adagio un poco mosso
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 3. Rondo. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 1. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 2. Largo
Triple Concerto For Piano, Violin And Cello In C, Op.56: 3. Rondo alla Polacca

Amazon.com

Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find.

Arrau's devotion to Beethoven is memorialized by this budget-priced, 14-CD collection of his recordings, mostly from the 1960s, of the composer's 32 sonatas, five concertos (with Bernard Haitink conducting the Concertgebouw Orchestra of Amsterdam), and most important sets of variations. His Beethoven is not always successful. His sometimes ponderous seriousness keeps early works, such as the Sonata No. 3 and the Concerto No. 2, from smiling, and his lack of spontaneity makes the whimsy in Sonata No. 26 and the "Diabelli Variations" sound labored. But in the composer's weightiest works, Arrau can produce revelations. Certainly, no one plays Sonata No. 32 better. The first movement sounds like thunder that comes ever closer and the finale's chains of trills, played with exquisite finish and expressive perfection, transport the listener to a higher realm. If Arrau could be single-minded in his devotion to the composer's score, he also believed that music could encompass everything. When Arrau was at his best--as he frequently is in this set--it does. --Stephen Wigler

Customer Reviews:

The one collection I cannot imagine being without.......2007-01-30

It would be absurd to recommend recommending one Beethoven cycle to the exclusion of all others, yet it is Arrau's cycle to which I repeatedly return, despite some flaws mentioned by other reviewers.

They are flaws which can be forgiven. Scherzi which would be brimming with mirth & vitality in the hands of others may come up short, but it is more than compensated for by the revelations to be found as Arrau explores every aspect of Beethoven at his most profound. There always seems to be something new to be discovered. Flabby? It is hard to imagine how someone could come to this conclusion.

Even the sound quality for recordings dating back into the 1960's has been remastered so as to be acceptable to all but the most spoiled of listeners, who apparently are satisfied only with the most seamless homogenized studio sound. Those who can't get past the slightly imperfect sound quality are focusing on the wrong details.

If the greatness of the performance were not enough, the price should be enough to convince any serious music lover to add these to a CD collection. One cannot overstate how rewarding this collection will be to anyone who does not yet know the artistry of Arrau.

MASTERY.......2007-01-26

One man's viewpoint: Arrau amazes me as he sets the notes down with such clean deliberation! Total command. No matter how fast Beethoven is charging along. And as Arrau gets every note, we find the real Beethoven genius shining through - after all, as raw material, this is some of the finest piano music anywhere. Of course, this playing delivers passion and heart-and-soul communication too. And a sense of commitment and strength.
I suggest this set - with about nine stars! Mastery in art. *** For a lighter, more joyful touch - and great tone - ALSO get hold of O'Conor's set of the 32. I suggest this set - with about nine stars!

Magisterial... mystical.......2006-11-03

I've been listening to Beethoven's sonatas for fifty years and have heard all of them by some, and some of them by all the available recorded performers. Overall, Claudio Arrau is my favorite interpreter of the sonatas. To me he has an inner affinity with Beethoven that is uncanny. Beethoven was a man of great character. And that greatness, detached from his person in the form of musical ideas, enters the listener through intermediaries such as Arrau. When it is done right, it works a sort of righteous therapy, and makes the listener a better person for the hearing.

Arrau describes Beethoven's greatness in his essay "Thoughts on Beethoven" in the 33 1/3 Philips LP edition. "Beethoven has always stood for the spirit of man victorious. His message of endless stuggle concluding in the victory of renewal and spiritual rebirth...his life was an existential fight for survival...In the sense that he mastered both his life and his art to reach the ultimate heights of creation and transfiguration, he will last as long as man's spirit to prevail lasts on this earth." Part of the greatness of Beethoven's character came from his ability to be intimately close and at the same time at an infinite distance above his listener. Arrau possesses this same character, and his qualities as a man and artist are why he is able to so aptly render the greatness of Beethoven.

A book titled "Conversations with Arrau" was written by Joseph Horowitz to celebrate the artists's 80th birthday in 1982. I've only read the extracts published with the Philips edition, but there is enough information to get a feel for Arrau's character. He guarded the purity of his environment. He shunned parties and avoided small talk. He never drank or smoked, never learned to drive a car, boil an egg, or even operate a phonograph. His only hobby was gardening. Horowitz describes him as the embodiment of the nineteenth-century model of the artist as solitary, suffering hero. He was small (5'6") and frail, but in 1982 at age 80 he was still playing more that 70 concerts a season.

Rather than launch a discussion of his individual works (this has been done admirably by many of the reviewers) I will remark on just a few. I never properly appreciated the Fourth and the Seventh Sonatas until I heard Arrau's reading of these works. His Fourth takes 31 minutes, 30 seconds. Annie Fischer, another great interpreter of Beethoven, plays it in 27 minutes, 30 seconds. And Ms. Fischer does not play at a hurried tempo.

Yes, Arrau plays the sonatas at a slower tempo than any other interpreter. He also achieves a mystical quality in his interpretations that is unmatched. The second movement of the Seventh comes in at 10 min, 30 seconds. It is the greatest 10 1/2 minutes of piano music ever conceived. When interpreted by Arrau it becomes a microcosm of Beethoven's life and work. The second movement of the Appassionata is a sacred hymn.

Arrau's five piano concertos are splendid. I've heard no other renditions of the concertos with slow movements that equal Arrau's. No one plays the middle movements with his expressiveness and sense of the numinous. And his rendition of the "Eroica Variations" is on a par with the top few recordings of this piece.

If you have any interest in Beethoven, at whatever level, this bargain is outstanding.

Beethoven + Arrau = Divinity.......2006-10-29

If you love Beethoven, Arrau's interpretation will certainly be a joyful addition to your classical music collection. For me, his is the definitive Beethoven.

Though some will likely disagree, I have listened to many other great pianists' recordings of Beethoven sonatas, and they are great (don't get me wrong). Yet Arrau is unique in his ability to bring to light subtleties in the melodies that no one else can, and these often turn out to be the most enlightening and resonant of passages. His Op. 111 is indeed unparalleled, and his recording of the 2nd movement is one of my favorite pieces in the world. On top of that, his rendition of the Moonlight Sonata, his Waldstein, his Concertos, every recording on this boxed set is a testament to the depth Arrau worked diligently and consciously to achieve; depth that transcends technical showmanship and for the intuitive listener can certainly elicit fleeting glimpses of divine ecstasy.

At any price, it's a steal - beauty of this magnitude is all too rare.

Beethoven himself would be proud........2006-06-19

This is a masterpiece. Don't listen to the one negative review, as this guy is tone deaf. This compilation of Beethoven's music is a treasure to behold. A bargain at twice the price, this is well worth the money. Excellent! Excellent! Excellent!

Casals Edition - Beethoven: Complete Cello Sonatas

Average customer rating:

Spectacular recording of spectacular music
Disappointing Sound Quality
Very touching performance.
Casals and Serkin play Beethoven for the Gods
Deeply-probing classic interpretations (but not *quite* complete)

Casals Edition - Beethoven: Complete Cello Sonatas

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Bach: Cello Suites
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Johannes Brahms: Sextet No. 1/Piano Trio No. 1

ASIN: B0000029L7
Release Date: 1994-02-22

Tracks:

I. Adagio Sostenuto - Allegro-Adagio-Presto
II. Rondo. Allegro Vivace
I. Adagio Sostenuto E Espressivo/Allegro Molto Piu Tosto Presto
II. Rondo. Allegro
I. Andante - Allegro Vivace
II. Adagio - Allegro Vivace

Tracks:

I. Allegro Ma Non Troppo
II. Scherzo. Allegro Molto
III. Adagio Cantabile - Allegro Vivace
I. Allegro Con Brio
II. Adagio Con Molto Sentimento D'affetto
III. Allegro - Allegro Fugato
7 Variations On/Uber/Sur 'Bei Mannern, Welche Liebe Fuhlen' From/Aus/De Mozart's 'Die Zauberflote'/ < > WoO.46
12 Variations On/Uber/Sur 'Ein Madchen Oder Weibchen' From/Aus/De Mozart's 'Die Zauberflote'/ < > WoO.66

Customer Reviews:

Spectacular recording of spectacular music.......2007-06-08

I didn't even know that Beethoven wrote sonatas for cello and piano until I came across this recording; both the music and the musicians are spectacularly good. Get it today!

Disappointing Sound Quality.......2007-01-09

I have heard of these sonatas for years, but had never heard them. I chose the Casals/Serkin set because of my familiarity with other performances by him. Although Casals and Serkin are unassailable as interpreters and performers, I found this set disappointing because of what I can only describe as ugly sounds - there is a harshness to the sound quality, at least in places, which I think is probably to be ascribed to the age of the recording rather than the performance. Still, I found it jarring, and it marred my enjoyment.

Very touching performance. .......2007-01-03

This album is one of the most beautiful music experiences I had in many years; I'm amateur listener but I can say that both interpreters are playing these compositions with such a passion and love that is probably not too common these days anymore. Originally I felt that the technical quality of this mono recording is bit distracting, but after a few weeks of listening this album over and over I don't mind the sound at all - the quality of music makes up for it, and I actually like the recording as it is presented to us, wouldn't want any change. I very much recommend this album. I'm planning to buy another copy as a gift for someone close.

Casals and Serkin play Beethoven for the Gods .......2006-03-29

This set is desert island gorgeous. Playing with passion, elegance, at times abandon, the performers are completely in tune with each other. This is elevated chamber music playing of an aristocratic order.

You can hear Casals grunting and moaning with pleasure through the performances - it sounds as though he's making love to his cello. Serkin's playing is simply beautiful - lucid and warm with some of the best trills I've heard - his playing in opus 60 is thrilling. Good clear sound allows you to listen unencumbered by distraction to this spectacular music-making.

The Schnabel - Fournier set of these pieces is quite wonderful, too - spunky and sparkling with Schnabel's great paced and joyous playing. The Schnabel virile luminosity is all there, partnered by Fournier's richly expressive and dignified cello. While it sounds like the historic performance it is, I rarely mind or notice. Art is what counts and the beauty of these performances shines through with radiant surrender. Who cares about a little interference - it adds to the wonder of the experience, knowing that this was recorded almost 60 years ago and we are priviliged to hear it today....

The dvd with Rostropovich and Richter playing Beethoven's cello sonatas is also splendid - Rostropovich is a marvelous musician to watch - he's in an altered state and quite uninhibited about his relationship with his instrument. Yes there are some incorrect notes played, but who cares? Rostropovich is demonically possessed at times and it's fascinating to watch his transformations and responses as he literally attacks his cello, especially in the rondo of opus 5 no. 2. Richter is a large man nearly bursting out of his tails. With his enormous hands he looks more like he could be unloading freight down at the docks, yet he plays these sonatas with such refined manners and sensitivity that it's heart rending to see this big, uncomfortable man playing such magnificent music.

Deeply-probing classic interpretations (but not *quite* complete).......2005-10-25

I was recently listening to this set and the new Schiff-Perenyi recordings on ECM for the purpose of comparing them and writing a review about my impressions. "Compare and contrast the sets, class, and write a review for Monday. Minimum of five pages, single-spaced, typed. --And don't ask your parents for help, because I can always tell."

Well, I was weird as a school kid, because I always loved assignments like that and never was inclined to ask my parents or anyone else. Not that we ever got to write about Beethoven cello sonatas--usually it was on something boring like Beowulf. So I've been comparing Serkin and Casals to Schiff-Perenyi, and, in the interest of efficiency, was going to write a review dealing with both sets and paste two copies on Amazon, one under this recording and one under the Schiff-Perenyi disc, thereby scoring two reviews with one effort. Then I discovered that apparently the ECM isn't available in America--or at least not through Amazon's American website. (It is on their UK page.) So much for my attempt at efficiency. At any rate, you can consider this a review of both recordings, and maybe I'll even mosey on over to the UK side and post this review with them.

Anyway, after listening to the two sets, it's clear the Serkin-Casals stands head and shoulders above Schiff-Perenyi. What's frustrating is trying to explain why the latter, despite immacualte playing (or maybe because of it?) is devoid of meaning, while the former, despite finger-slips and lapses of intonation (as well as more cautious tempi and less free abandon) displays a deep understanding of the works' structures and nuances. Take, for just one small example, the second movement of Op.5, No. 2: in the hands of less skilled interpreters, the waltz seems to be repetitious and too long, distended from the rest of the work. I always thought it was that way, and figured Beethoven just hadn't really mastered proportion yet.

Well, perhaps he hadn't, but Casals and Serkin make us believe he has. They find infinite variety in the theme, so that it doesn't sound redundant as it keeps returning. And I don't just mean they vary the dynamics or insert a pause here or there; they find just the proper weight for the pieces as it morphs from section to section. No one else has convinced me so much in this music, not even Heidsieck-Tortelier (a set I am very enthusiastic about nonetheless).

Some other moments are just unforgettable. Listen to the opening of Op. 102, No. 1: does anyone play music this way anymore? Pay attention to the way Serkin answers Casals in the introduction's main phrase. Then listen to the low tremolos in Serkin's left hand, with Casals the background, just before the main theme begins. It's positively heartbreaking! After a plaintive introduction like that, it seems logical to me that the main theme should have to *fight* for its very existence when it appears, and this is just how Casals and Serkin take it. (Listen to the dynamic interplay!) By contrast, Schiff-Perenyi play it relatively straight-laced, without much dynamics, and don't convince me they have anything to say; their mission seems to be just to play prettily. ("For extra credit class, contrast their handling of the last murmuring bars of the introduction with Serkin-Casals. Which one makes your hair stand up on your back?") When the latter two get to the first movement's second theme, that struggle from the terse introduction is absent, and the whole dramatic "point" of the piece is lost, to my ears. These musicians are more convincing in the facile works, such as the Op. 66 Magic Flute Variations--they're pretty, sweet-sounding, and not as deep as the triple-digit opus works.

I think the best way to put it is to say that I feel that Schiff-Perenyi have thought about the notes, and play them perfectly. They can play rings around Casals and Serkin, and generally do. But Casals and Serkin spent their study time thinking about the music, what it meant, why Beethoven started this one with a brooding introduction but not that one; how the absense of such an introduction changes the qualities of the movement's secondary theme, when the works get "dark" and when they get "light," and so on. So many of today's musicians, unfortunately, see the little squiggles on paper as technical obstacles to be hurdled; Casals and Serkin saw them as clues to divine what was inside the composer's head. And if they didn't always clear the hurdle--and sometimes they don't--so what? You understood what they meant.

I guess in the interest of full disclosure, I should mention that while the Schiff-Perenyi are in immaculate sound, the Serkin-Casals recordings were made in the early 50s and are mono. This shouldn't stop anyone from buying them, but if you must have everything in your collection writ in large DDD letters, you should look elsewhere. And it will be your loss.

My only slight complaint is the titling of the Casals and Serkin set "The Complete Edition." Not quite. Missing is the little-known sonata in F Major, Op. 17, a transcription, as well as a theme and variations on Handel's Judas Maccabaus, WoO 45. These aren't major omissions that should dissuade you from buying the set, but it's not "complete," either. But even my beloved Heidsieck-Tortelier lacks the Op 17 sonata. Only the ECM has every last scraping of Beethoven's cello music.

Okay, that's my comparative essay. Hope you give me an A.

Beethoven: Complete Sonatas for Piano & Cello

Average customer rating:

Good Alternative Beethoven Cello Set...
Great Stuff
Ma and Ax do it again!

Beethoven: Complete Sonatas for Piano & Cello

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000026GN
Release Date: 1990-10-25

Tracks:

Sonata No. 1 For Piano & Cello, Op. 5, No. 1 (F Major): I - Adagio sostenuto; Allegro
Sonata No. 1 For Piano & Cello, Op. 5, No. 1 (F Major): II - Rondo: Allegro vivace
Sonata No. 2 For Piano & Cello, Op. 5, No. 2 (G Minor): I - Adagio sostenuto ed espressivo; Allegro molto piu tosto presto
Sonata No. 2 For Piano & Cello, Op. 5, No. 2 (G Minor): II - Rondo: Allegro
Sonata No. 4 For Piano & Cello, Op. 102, No. 1 (C Major): I - Andante; Allegro vivace
Sonata No. 4 For Piano & Cello, Op. 102, No. 1 (C Major): II - Adagio; Allegro vivace

Tracks:

Sonata No. 3 For Piano & Cello, Op. 69 (A Major): I - Allegro ma non tanto
Sonata No. 3 For Piano & Cello, Op. 69 (A Major): II - Scherzo: Allegro molto
Sonata No. 3 For Piano & Cello, Op. 69 (A Major): III - Adagio cantabile; Allegro vivace
Sonata No. 5 For Piano & Cello, Op. 102, No. 2 (D Major): I - Allegro con brio
Sonata No. 5 For Piano & Cello, Op. 102, No. 2 (D Major): II - Adagio con molto sentimento d'affetto
Sonata No. 5 For Piano & Cello, Op. 102, No. 2 (D Major): III - Allegro fugato
Seven Variations On The Theme 'In Men, Who Know The Feeling Of Love' From Mozart's (From Mozart's 'The Magic Flute, For Cello And Piano, WoO 46)
Twelve Variations On The Theme 'A Maiden Or A Wife' (From Mozart's 'The Magic Flute, For Cello And Piano, Op. 66)

Amazon.com essential recording

These are among the finest modern recordings of Beethoven's Cello Sonatas. The two players are well matched, as they should be in this music, which is just as demanding for the pianist as for the cellist, if not more so. They don't try to differentiate stylistically among early, middle, and late sonatas. They play them all in a large scale, concert-hall manner, which actually suits all of them very well. Unfortunately, in reducing this recording to two CDs, the producers have dropped one set of Variations, which was recorded. What is present, though, is choice. --Leslie Gerber

Customer Reviews:

Good Alternative Beethoven Cello Set..........2005-11-16

Seems to be a lot of disagreement on this set. I have both this one and the Fournier & Kempff set. I like them both. I can say that Ma & Ax take all repeats, thusly extending the playing time of each movement anywhere from 3-5mins over the Fournier & Kempff set. I've always thought Ma a fine cellist. I rate his Bach solo cello second only to Casals, and tied with Fournier. Ax is a solid pianist, if not brilliant. Kempff is preferred with Beethoven, however.

Anyway, this is a solid set: can't go wrong. The Fournier & Kempff set, likewise.

Great Stuff.......2003-06-23

I have listened to many recordings of these sonatas and I have to admit that these are amazing!
Although I agree that Yo-Yo Ma is not the best cellist to have ever walked the earth (anyone who knows anythign about cello playing would admit this) he is certainly without doubt the best around at the moment!!! Who knows who he rates better than Ma. Du Pre?? I hope not!
People often forget that a sonata is a piece of chamber music! Ma and Ax, certainly not forgeting this play so beautifully together in this that this is a piece of chamber music that cannot be missed!
BUY IT!!!!!!!! (Whilst throwing away any recordings of du pre!)

Ma and Ax do it again!.......2000-06-13

At first I was hesitant to buy this set because of the price. But later I found out that it was well worth it. Their ability to basically control the instruments that they are playing is incredible. Most importantly is the feeling that they have put in to the Beethoven cello sonatas. I have noticed that of all the classical duos and trios that i have heard, Ma and Ax are the best. They seem to communicate well together while playing. This selection definitely receives five stars.

Average customer rating:

badly remastered
Rachmaninov is the master
A Master of Musical Love
Classic Historic Rachmaninoff.

Rachmaninov: His Complete Recordings

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Binding: Audio CD

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ASIN: B000A2AD2S
Release Date: 2006-01-10

Customer Reviews:

badly remastered.......2007-06-25

"The Complete Rachmaninoff', at 2-3 times the price is a better deal. This version is re-mastered in a way that reduces surface noise, but, at the same time, removes much of the pianists' tone quality that comes through so well on the original LP release, as well as the more expensive set. Also, this album is lacking the documentation of recording dates that the LP and 'The Complete Rachmaninoff' provide. For the neophyte, the re-mastering reduces the magic of Rachmaninoff's tone. I would expect the connoisseur to be even more disappointed. There are bargains out there, but for this album, you get what you pay for.

Rachmaninov is the master.......2007-05-15

Some people like the recordings and some dont, but as a fan of Rachmaninov it would be a shame not to own these recordings. To hear a master composer from history play his own works is not that common. Just put the cd in your player put your headphones on and watch the black and white images appear in your mind as though you were at a concert in the 1930's looking on at the man sitting at the piano carefully but with feeling pounding each note into the air of time. If you don't like the scratchy recordings then obviously you are a spoiled brat who doesnt appreciate fine art.

A Master of Musical Love.......2007-01-18

There have been other brilliant composers and genius pianists as Rachmaninoff lived and afterwards. Yet, in my opinion, he is the real central figure of his days and, as far as I can feel, what there is of most modern up to now in classical music. I do not think it exaggerated to say that, after all these decades, someone is still to pick up the torch from his hands at that level of inspiration, just as he picked it up from Tchaikovsky. It is true that a few of his compositions seem quirky and cerebral: but more than a few are the masterpieces. His second Concerto is the concert of the century. And where do we find, for instance, a match for his etude tableau 39/5 in one hundred years? Or a simply revolutionary piece as his prelude 32/12 is?

One could go on with a list of marvelous compositions either created or played by him and many reviewers already pointed so much of great in his recordings. So a good thing to do here is what a previous reviewer also did: to say something special about one favorite piece of the box-set. My forerunner pointed to Rach's rendering of Haendel's "Harmonious Blacksmith" and I agree with each word he wrote about it. Now I should like to declare my amazement about his version of "Leise flehen", initially a Swansong written by Schubert and later transcribed by Liszt.

Hopefully Dietrich Fischer-Dieskau and other singers will not mind my saying this, but Rachmaninoff unveils and exposes such a treasure in this song that now its original lyrics only seem to obstruct the inestimable wealth in piano notes below them at all other known recordings: the piece is infinitely more beautiful when left to the pianist alone. Rach's playing is warm and generous, just like Schubert's creative Geist, and the result is light-years ahead of the usual rough, squared, catacomb mood with which people bring the composition along with singers.

Impossible not to love, but there is more to that. After listening so many times to this piece that never ceases to stun me, I came to conclude that in fact very few people could manage to play the `leise flehen' like this, even among good pianists. As expressed here, its notes speak to their listener in such frank, open, and direct way - like a true friend making an important confession - that only a man with Rachmaninoff's `heart of gold' could manage to convey its meaning.

Ahhh, maybe we're talking about technique... To have a most noble heart, then, is THE decisive technical prerequisite for communicating these notes, otherwise they will simply not come out at all.

Notes: Here are a few opinions about the pieces mentioned above; hopefully they will be helpful for persons who don't know Rachmaninoff's works and stimulating for those who already know them. 1) As far as I am aware, besides Rachmaninoff only Valentina Lisitsa recorded the Leise flehen in a solo version. It can be found in her 2005 DVD with the Swan Songs program. 2) The etude tableaux 39/5 is not in this box set; many performers have played it, but none as Van Cliburn, who simply operates a miracle in the CD "My Favorite Rachmaninoff". His playing and the vertigo sensation it leaves behind are so powerful that I am sometimes afraid to listen to him. 3) Horowitz, the wizard, masters the prelude 32/12 in his CD "Horowitz Plays Scriabin" and in his legendary 1986 Moscow recital; the prelude is also in Rach's box-set. 4) About the second concerto, there are so many recordings, most of which I have not heard; my favorite performer is Benno Moiseiwitsch, a sublime piano poet much admired by Rachmaninoff himself. None of the recordings I've heard of the concerto, including the two available by its own composer, reach the climax of its third movement as Moiseiwitsch does in a 1944 movie called "Battle for Music". It is only a short excerpt from one of his wartime presentations with the LSO, but long enough to show how it sounds when perfectly done. The excerpt is also in the movie "The Art of Piano", in which the entire footage involving Rachmaninoff and Moiseiwitsch is simply a gem (however much historically unprecise).

Classic Historic Rachmaninoff........2006-01-14

If you're a tad bit confused between this boxed set and "The Complete Recordings" boxed set from 1992, fear not. Both this and "The Complete Recordings" are exactly the same. The only difference is in the cover art and packaging. Also, the price of this recent reissue is half as much as the original edition. If you have the original edition, there's no need to buy it again. If you don't own this already, then this present edition is the one to get mainly because of its reduced price tag.
With this out of the way, onto the music itself:
The Rachmaninoff Complete recordings collection includes everything the great Russian composer/pianist recorded between the years 1919 and 1941. Besides recording historic versions of his own classic Piano Concertos, his "Rhapsody on a Theme of Paginini" as well as conducting his own Third Symphony and Isle of the Dead, Rachmaninoff also recorded arrangements of works by such great composers ranging from Bach, Handel, Mozart, Beethoven, Schubert to most importantly, Chopin. These recordings are also included in this mammoth set alongside more obscure works by Mussorgsky, Daquin, Henselt and Dohnanyi.
The sound quality varies throughout the set ranging from highly listenable to sounding as if it were transferred by placing a microphone directly into the horn of an old grammophone. Despite the variants of sound quality, one cannot deny that this music as well as these recordings are important and historic.
The CD booklet gives a brief insight to Rachmaninoff's history as a recording artist as well as a breakdown of the tracks themselves. The only major flaw with this present edition is the fact that there are no recording dates listed anywhere in the liner notes. Considering that these are historic recordings dating from the very birth of the recording age, it would've definitely been helpful to be able to identify the year in which each work included here was recorded. Considering that I do not own the original edition of this set, there's a good chance that the first edition included the dates of the recordings. Not so here though. This is the reason why this reviewer docked this set one star.
Apart from this, this present edition or Rachmaninoff's complete recordings is a must for the die-hard Rachmaninoff fan. You get to hear the genius at work not only with his own material but with works by others as well. There are also a few note worthy collaborations such as a full disc of duets with legendary violinist Fritz Kreisler, an appearance by mezzo soprano Naddejda Plevitskaya on the arrangement of the traditional tune "Powder and Paint" and a fabulous four-hand piano rendition of Rachmaninoff's own "Italian Polka" with his daughter Natalie as second pianist (which actually sounds like a homemade wax-cylinder recording).
With this said, if you can get around guessing when these recordings were made, this is some great and historic music from one of the very best composer/musicians of our time - the one and only, the great Sergei Rachmaninoff.

Beethoven: Complete Music for Cello & Piano

Average customer rating:

Beethoven would have smiled
The Definitive Performances of Beethoven's Cello-Piano
Wonderful
Richter + Rostropovich = Perfection
Gramophone Classical 100

Beethoven: Complete Music for Cello & Piano

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Brahms: The Cello Sonatas
Bach: The 6 Cello Suites
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Brahms: Sonatas for Cello and Piano
Schubert, Debussy / Rostropovich, Britten

ASIN: B0000041A9
Release Date: 1994-10-11

Tracks:

Sonata No. 1 In F, Op. 5 No. 1, For Piano And Cello: I. Adagio Sostenuto - Allegro
Sonata No. 1 In F, Op. 5 No. 1, For Piano And Cello: II. Rondo. Allegro Vivace
Sonata No. 2 In G Minor, Op. 5 No. 2, For Piano And Cello: I. Adagio Sostenuto
Sonata No. 2 In G Minor, Op. 5 No. 2, For Piano And Cello: II. Rondo. Allegro
Sonata No. 3 In A, Op. 69, For Piano And Cello: I. Allegro ma non tanto
Sonata No. 3 In A, Op. 69, For Piano And Cello: II. Scherzo. Allegro molto
Sonata No. 3 In A, Op. 69, For Piano And Cello: III. Adagio cantabile - Allegro vivace

Tracks:

Sonata No. 4 In C, Op. 102 No. 1, For Piano And Cello: I. Adagio - Allegro Vivace
Sonata No. 4 In C, Op. 102 No. 1, For Piano And Cello: II. Adagio - Tempo D'Andante - Allegro Vivace
Sonata No. 5 In D, Op. 102 No. 2, For Piano And Cello: I. Allegro Con Brio
Sonata No. 5 In D, Op. 102 No. 2, For Piano And Cello: II. Adagio Con Molto Sentimento D'Affetto
Sonata No. 5 In D, Op. 102 No. 2, For Piano And Cello: III. Allegro - Allegro Fugato
12 Variations On Ein Madchen Oder Weibchen
7 Variations On Bei Mannern, Welche Liebe Fuhlen
12 Variations On See The Conquering Hero Comes

Amazon.com

Beethoven was the first great composer of cello sonatas, and he remained really the only one until Brahms wrote two at the end of the last century, and then in our own time Martinu wrote three. Aside from a few individual works by other composers (Grieg, Rachmaninov, Shostakovich, Barber, and Britten), that about sums up the entire repertoire for this particular combination. It's a difficult medium, because the low notes of the cello tend to get covered by the bass of the piano, and balance between the two instruments is always precarious. Of course, when you have artists of the caliber of Rostropovich and Richter, there's nothing to worry about. This classic set has been the reference edition since the day it was issued, and it's now available at a budget price. --David Hurwitz

Customer Reviews:

Beethoven would have smiled.......2007-02-09

Rostroprovich and Richter are poster children for the merits of recording the lesser-known works of past masters. It is astonishing to believe that the Beethoven of, say, Symphonies, 3, 7, and 9 also sat himself down to compose small music like these pieces for two amiable but sometimes socially incompatible instruments.

That he did so is testimony to the range of his genius, a profound gift that we are prone to appreciate only for its depth.

The phrasing and coordination that the two R's bring to this ensemble makes the two instruments play almost as one.

Beethoven would have sat back in his chair, closed his eyes, and allowed himself the hint of an avuncular smile as though to say 'Now *this* is what I had in mind ... !'

The Definitive Performances of Beethoven's Cello-Piano .......2005-10-10

I've enjoyed this recording for years. In the Sonatas, Rostropovich's cello is strong and the difficulty of having the cello and the piano together is remedied wholly by Richter's capable, modulated keyboarding. I especially love the second movement (Rondo) of Sonata No. 2 in G minor. (I suspect that the recording engineers also played their part.) The Sonatas sound as though they were recorded in a large, empty hall. Perfect.

Yet nothing can be taken from Gendron's cello performances in the Variations. Amazing depths in Variations on "Bei Mannern, welche Liebe fuhlen"! (He's also performed quite a bit of Bach out there.) Jean Francaix is the pianist in these performances and I especially enjoyed his parts in 12 Variations on "Ein Madchen oder Weibchen" based on Mozart. The Variations have more of a "chamber" feel as recorded.

In short, turn off all distractions, grab your favorite soothing beverage, lower the lights, and let this recording ease what ails you.

Wonderful.......2005-03-24

Beethoven, Rostropovich, and Richter. It is simply amazing how they managed to get Rostropovich and Richter, two GIANTS of the cello and piano worlds, to play some of the greatest music together. And this set of cello and piano music is complete! What more could you ask for? Sure, the sound isn't perfect, but it's barely noticeable, and you get used to it.

Richter + Rostropovich = Perfection.......2004-07-06

Simply put: The best set of Beethoven's Violoncello Sonatas you'll be able to find. Period.

Gramophone Classical 100.......2004-01-05

This should have entered into Gramophone Classical 100. What were the reviewers doing? Sleeping?

Beethoven: Complete Works for Cello & Piano

Average customer rating:

Absolutely Satisfying Performances From Two Of The Best Classical Musicians of the 20th Century
Some of Beethoven's best

Beethoven: Complete Works for Cello & Piano

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Bach: The Well-Tempered Clavier, Book 1
Clara Haskil: Philips Recordings, 1951-1960

ASIN: B000FBHSQI
Release Date: 2006-08-08

Tracks:

Adagio Sostenuto - Allegro
Rondo: Allegro Vivace
Adagio Sostenuto E Espressivo - Allegro Molto Piu Tosto Presto
Rondo: Allegro
Allegro Ma Non Tanto
Scherzo: Allegro Molto
Adagio Cantabile - Allegro Vivace

Tracks:

Andante - Allegro Vivace
Adagio - Allegro Vivace
Allegro Con Brio
Adagio Con Molto Sentimento D'affetto
Allegro - Allegro Fugato
Tema: Allegretto
Variation I
Variation II
Variation III
Variation IV
Variation V
Variation VI
Variation VII
Variation VIII
Variation IX
Variation X: Allegro
Variation XI: Adagio
Variation XII: Allegro
Tema: Andante
Variation I
Variation II
Variation III
Variation IV
Variation V: Si Prenda Il Tempo Un Poco Piu Vivace
Variation VI: Adagio
Variation VII: Allegro, Ma Non Troppo - Coda
Tema: Allegretto
Variation I
Variation II
Variation III
Variation IV
Variation V
Variation VI
Variation VII
Variation VIII
Variation IX
Variation X: Adagio
Variation XI: Poco Adagio, Quasi Andante
Variation XIII: Allegro

Album Details

One of Pierre Fournier's Great Recordings - Arguably the Best Recording of the Beethoven Complete Cello Works - that Will Form Part of Our Fournier 100 Celebrations (The Anniversary of his Birth Falls on 24 June this Year). The Recordings were Made When Fournier was at his Technical Peak, and Partnered by the Keenly-insightful Friedrich Gulda. The CD Booklet Includes a Fascinating Memoir by the Son of Pierre Fournier - Jean Fonda - on "Fournier and Fritz [gulda]", plus a Couple of Delightful Fifties Photos !

Customer Reviews:

Absolutely Satisfying Performances From Two Of The Best Classical Musicians of the 20th Century .......2007-01-11

Musically, cellist Pierre Fournier and pianist Friedrich Gulda, were the least likely couple ever to form a successful chamber music duo in the history of 20th Century classical music. Fournier's elegant, rhapsodic playing was firmly established within a "French school of cello-playing" that emphasized discretion and yielding from this distinguished artist, "so perfect a balance of registers, so immaculate a line" according to music critic Reinhard Beuth (from the liner notes of this two-CD set.). In stark contrast, Gulda's playing was more cerebral and indeed, visionary, in the sense that he was interested in adhering as close as possible to the composer's original intentions for the score, than by imposing his own idiosyncratic, romantic style on his playing (A performance style which has become quite popular amongst contemporary pianists.). And yet, Gulda was also a radical musically, by fully embracing jazz music, along with his keen interest in playing classical music composed by the likes of Mozart and Beethoven. Recorded in late June, 1959 by Deutsche Grammophon at Vienna's legendary Musikverein, this two-CD set is an excellent muscial testament to this unlikely chamber music duo, replete with some of the best performances ever recorded of Beethoven's cello sonatas and other works composed for the cello and piano (I'm not sure how well this two-CD set compares with Fournier's later recordings of these sonatas with pianist Wilhelm Kempff, but I do know that this set ought to be regarded as among the finest currently available of the Beethoven cello sonatas.). Although the sound quality hasn't been digitally enhanced via digital image bit remastering, it nonetheless sounds quite vivid and realistic, giving ample weight to both Fournier's cello and Gulda's piano; needless to say, this is yet another reason to acquire this fine two-CD set.

Some of Beethoven's best.......2006-12-16

The cello sonatas span Beethoven's entire career. The first two are "early", the third one "middle period", and the last two "late". They range from tuneful to abstract, but all are studded with luscious melody. I find it impossible to choose between this Fournier recording and the later one with Kempff. The sound here is crystal-clear, and the spirit of Beethoven hovers over the proceedings. Gulda points up the structure, Fournier provides the lyricism, and the music takes flight. Note that both sets include the three sets of variations, which are sheer fun.

Average customer rating:

Great Playing from the Grumiaux Trio
Glorious! Beethoven
Grumiaux Trio will make you smile.

Beethoven: The Complete String Trios

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
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Mozart: Complete String Trios & Duos
Beethoven: The Piano Trios
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Complete Beethoven Edition, Vol. 14: Misc. Chamber Works
Beethoven: The Cello Sonatas

ASIN: B0000041N6
Release Date: 1997-08-12

Tracks:

String Trio In E Flat, Op.3: Allegro Con Brio
String Trio In E Flat, Op.3: Andante
String Trio In E Flat, Op.3: Menuetto. Allegretto
String Trio In E Flat, Op.3: Adagio
String Trio In E Flat, Op.3: Menuetto. Moderato
String Trio In E Flat, Op.3: Finale. Allegro
Serenade For String Trio In D, Op.8: Marcia. Allegro - Adagio
Serenade For String Trio In D, Op.8: Menuetto. Allegretto
Serenade For String Trio In D, Op.8: Adagio - Scherzo. Allegro Molto - Adagio. Tempo 1 - Allegro Molto
Serenade For String Trio In D, Op.8: Allegretto Alla Polacca
Serenade For String Trio In D, Op.8: Andante Quasi Allegretto - Allegro - Tempo 1 - Marcia. Allegro

Tracks:

String Trio In G, Op.9, No.1: Adagio
String Trio In G, Op.9, No.1: Adagio, Ma Non Tanto, E Cantabile
String Trio In G, Op.9, No.1: Scherzo, Allegro
String Trio In G, Op.9, No.1: Presto
String Trio In D, Op.9, No.2: Allegretto
String Trio In D, Op.9, No.2: Andante Quasi Allegretto
String Trio In D, Op.9, No.2: Menuetto, Allegro
String Trio In D, Op.9, No.2: Rondo, Allegro
String Trio In C Minor, Op.9, No.3: Allegro Con Spirito
String Trio In C Minor, Op.9, No.3: Adagio Con Espressione
String Trio In C Minor, Op.9, No.3: Scherzo, Allegro Molto E Vivace
String Trio In C Minor, Op.9, No.3: Finale, Presto

Amazon.com

Beethoven was the last great composer to write string trios, and his are the finest works of their type. Mozart hardly touched this particular combination, and Haydn wrote quite few very early works which are now completely unknown. In any case, Haydn used two violins and a cello, whereas with Beethoven the standard combination became violin, viola, and cello. These are all early works, expert examples of all that Beethoven learned from Haydn and Mozart in preparation for the writing of his first great string quartets. But far from being mere composition exercises, these are highly rewarding works on their own, and these outstanding performances make the best possible case for their claim to be ranked among Beethoven's chamber music masterpieces. --David Hurwitz

Customer Reviews:

Great Playing from the Grumiaux Trio.......2007-05-01

This is another great recording from the late 1960s re-released on the Philips Duo label at bargain price, they provide an excellent source of the chamber music of Mozart, Beethoven and Schubert. The string trio has been a much neglected music form, the only ones of note from this period have been the great Divertimento K563 by Mozart, these 5 from the young Beethoven, and one from Schubert. And they are all fine compositions, very well worth a listen. These from a 20 year old Beethoven are lyrical and joyfull. Despite the age of the recording the sound is very acceptable, and the performance from the Grumiaux Trio is superb.
As this recording is about 40 years old it must be expected that there are better performances available, but I would suggest that you don't worry about that, this one is very very good, and very cheap. Without hesitation, 5 stars.

Glorious! Beethoven .......2005-03-30

If you were to ask any composer from Mozart to the present, the task they would be most reluctant to tackle would be to write a trio for three stringed instruments.

The string quartet has long been considered to be the 'rite of passage'--the medium in which a composer proves he (or she) has 'chops'--the complete mastery of technique (harmony, counterpoint, voice-leading, etc.)--to write successfully for any combination of instruments .

But the string trio presents a unique challenge. With only three instruments (and six pitches available at any time), one must create a complete sonic universe with all the richness and diversity that will keep a listener entranced from beginning to end of a 20-minute piece. Beethoven evidently was inspired by this challenge and created five early masterpieces for this ensemble that have never been surpassed in their imagination and superb craftsmanship. They are among the best things he ever wrote.

It is an intellectual and sensual pleasure to hear Grumiaux lead his colleagues through these rich musical landscapes. I've always loved his elegant, musical playing (I'm a violinist) and consider him to be the ideal interpreter for this repertoire. His colleagues in the trio are 'molto simpatico' and the ensemble and phrasing are impeccable. Janzer (viola) and Czako (cello) don't quite match Gruimiaux's buttery, seamless sound in their solos, but the overall feeling is one of committed, intense music-making that results in performances that set a bench-mark for future ensembles.

Matthew Naughtin

Grumiaux Trio will make you smile........2000-01-25

I have first met withe Grumiaux Trio when I randomly bught vol.12 of Philips' "the best of the complete mozart edition". Now that I kenw I like their playing, I bought "Beethoven: The Complete String Trios". This is a digitally remastered recording from 1967/68. While the sound is not as sharp as in a digital recording, it is remarkably clear and noise free, thus anabeling an enjoyable listening. As for the preformance: The Grumiaux Trio play with happy spirit and joy, making these early beethoven works idial music for the early hours of the day (allthough I admit I'v missed a few sleeping hours, for once I start listening to these CDs I can't stop, no mater how late it gets:) It was noted that some times Arthur Grumiaux's violin, shades the other members of the trio. Great chamber music should be a dialog between equals, even if the violin is the leader. Still this is a wanderfull set of CD's, that i can only recomand.

Average customer rating:

Took a nap during labor
Awesome!
Induces great relaxation, pair with noise-cancelling headphones and sleep on plane.
Recommended for first rate relaxation and sleep!
Worth the listen

Brainwave Symphony

Manufacturer: Relaxation
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | New Age | Styles | Music

Meditation | New Age | Styles | Music
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Brainwave Suite
Theta Meditation System: Let Go of Stress, Renew Your Spirit, Gain Insight, and Intuition
Creative Mind System
Awakened Mind System 2.0
Brainwave Journey

ASIN: B00009L4UI
Release Date: 2003-06-03

Tracks:

Violin Concerto In A Minor, BWV 1041, Andante
Concerto For 2 Violins In D Minor, BWV 1043, Largo Ma Non Tanto
Sinfonia Decima A 7 For 2 Trumpets and Strings, Op. 3, Adagio, Grave, Adagio
Cello Concerto In C, Adagio
Cello Concerto In D, Op. 101, Adagio
String Symphony No. 4, Andante
Capriol Suite Pieds-En-Lair
Violin Concerto No. 4 In D, K. 218 Andante Cantabile
Concerto In F Major, F VII 2, RV. 455, Grave
Concerto In A Minor, F VII 5, RV. 461 Larghetto
Symphony No. 6 In F Major Op. 68, 'Pastoral' Szene Am Bach/Scene By The Brook, Andante Molto Mosso

Tracks:

Concerto In D For 2 Trumpets, Strings, And Continuo
Sonata In D For 2 Trumpets, Strings, And Continuo
Violin Concerto In A Minor, BWV 104 First Movement
Cello Concerto In C, Moderato
Oboe Concerto In B-Flat, Op. 7, No. 6 Allegros I & II
Oboe Concerto In D Major, Op. 7, No. 6 Allegros I & II
Oboe Concerto In D Major, F VII 10 RV. 453 Allegro, Largo, Allegro
Symphony No. 40 In G Minor, K. 550 Andante
Basset Clarinet Concerto In A, K. 622 Allegro

Tracks:

The Planets Suite: Venus, Bringer Of Peace
The Planets Suite, Neptune, The Mystic
Adagio For Strings
Adagio In G Minor
Symphony No. 4 In C Minor, Andante
Symphony No. 5 In B-Flat Major, Andante
Violin Concerto In E Minor, Andante
Lady Radnor's Suite, Slow Minuet
Sospiri, Op. 70
Suite For String Orchestra, Nocturne
Marche Funevre, Lento, Excerpt
Calm Sea & Prosperous Voyage Op. 27

Tracks:

Fantasia On A Theme By Tomas Tallis
Lark Ascending
Eclogue For Piano And Strings
Clair De Lune
Clarinet Concerto, Adagio
Variations On A Theme Of Frank Bridge, Op. 10, Adagio
Variations On A Theme Of Frank Bridge, Op. 10, Chant

Album Description

BRAINWAVE SYMPHONY combines carefully selected music from the baroque, classical, romantic, impressionistic, and twentieth-century eras with breakthrough audio technology to give you the best of classical wisdom and modern science.

We all experience many states of consciousness, from ordinary waking and sleeping states to extraordinary states in which we are more at peace, particularly aware, or unusually creative. Each state has a unique pattern of brainwaves that can be mapped and measured. Brainwave Symphony uses of inaudible pulses of sound, based on these brain maps, to trigger your brain to produce the state you want to experience.

Combining this powerful new recording process with carefully selected works of Mozart, Beethoven, Haydn, Bach, and other masters offers a beautiful and unique listening experience as well as a powerful tool for personal transformation.

Orchestrate Your State of Mind

CD1 Alpha Relax & Let Go Alert Meditation, Tranquillity, and Active Relaxation. Mozart, Bach, Haydn, Mendelssohn, Warlock, Vivaldi, Bononcini, and Beethoven

CD2 Beta Energize & Focus Heightened Focus, Enhanced Energy, and Peak Performance. Mozart, Bach, Alberti, Haydn, Albinoni, and Vivaldi

CD3 Delta Unwind & Sleep Deep Relaxation, Rejuvenation, and Restful Sleep Holst, Barber, Albinoni, Parry, Elgar, Bridge, Mendelssohn, and Chopin

CD4 Theta Meditate & Create Deep Meditation, Heightened Intuition and Enhanced Creativity.

Williams, Finzi, Debussy and Britten

All brainwave frequencies were scored by Dr. Jeffrey Thompson whose innovative work, based on over 20 years of clinical research, is used by healthcare professionals in 26 countries. Dr. Thompson is currently on the faculty of, and has research and clinical offices at, the California Institute for Human Science.

Music was selected and sequenced by Pat Moffitt Cook, M.M., Ph.Dc., AMI Fellow, a pioneer in the use of music in health care. Pat is the founder and director of the Open Ear Center for Music in Healthcare and Education, where she trains professionals, musicians, and laypeople in the use of healing music.

Customer Reviews:

Took a nap during labor.......2007-01-16

I used the first CD in this collection (Alpha) to assist me during the labor and delivery of our daughter. I put it on our ipod and listened to it over and over during the labor process. I actually managed a light nap during active labor and had very little pain throughout the process. It that doesn't tell you that it keeps you relaxed and able to meditate, I don't know whatelse might convince you. The recording is great, the music lovely, and it does what it claims to do. I highly recommend it!

Awesome!.......2006-03-17

These really work! Ever wonder why listening to classical music may make you more up-tight than relaxing you? Here's the reason...

Induces great relaxation, pair with noise-cancelling headphones and sleep on plane........2005-12-30

So far I have only really used the relaxation CD, which works amazingly well. I have been flying more red-eyes lately in part because I know I can sleep on the plane from as soon as I get on. However, I have always slept pretty well on airplanes!

I keep forgetting to try out the rest of the CD collection.

Recommended for first rate relaxation and sleep!.......2005-06-06

These cds sound like simple classical music, but they do indeed assist you to enter different states of mind. For best effect, wear stereo headphones. But even without, you will find it easier to relax, sleep and meditate. If you don't like classical, the Brainwaves Suite has a new age/environmental sound.

Worth the listen.......2004-10-17

My curiousity was well rewarded when I first listened to these four CDs. The symphonic music is seamlessly recorded, accented with tone notations that are easy on the ear and peaceful on the mind. This set is at the office, on the iPod and the home computer, and loaned to others on a regular basis. They have flavored prayer services and supported pastoral conversations. Make good presents, too. Worried about subliminal suggestion? Well, if clearer thinking and thoughtful reflection is subliminal thinking, then you will get the message each time you listen to these recordings. Other recordings by Dr. Thompson deliver just as these do.

Beethoven: Complete Sonatas & Variations [Hybrid SACD]

Average customer rating:

Wispelwey's newest disc
Great Artistry - Fantastic Sound

Beethoven: Complete Sonatas & Variations [Hybrid SACD]

Manufacturer: Channel Classics Nl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
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ASIN: B0007Z47YI
Release Date: 2005-09-13

Tracks:

Adagio Sostenuto-
Allegro
Rondo: Allegro Vivace
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Twelve Variations In F Major Op.66/Ein Madchen Oder Weibchen
Adagio Sostenuto Ed Espressivo-
Allegro Molto Piu Tosto Presto
Rondo: Allegro
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes
Twelve Variations In G Major Woo 45 (1796)/See The Conqu'ring Hero Comes

Tracks:

Allegro Man Non Tanto
Scherzo: Allegro Molto
Adagio Cantabile-
Allegro Vivace
Andante-
Vivace
Adagio-
Allegro Vivace
Allegro Con Brio
Adagio Con Molto Sentimento D'Affetto
Allegro Fugato
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen
Seven Variations In E Flat Major Woo 46 (1801)/Bei Mannern Welche Liebe Fuhlen

Customer Reviews:

Wispelwey's newest disc.......2006-03-22

I've really enjoyed Wispelwey's recording of the Six Suites, and consider his phrasing and musicality unparalleled. This disc breaks new ground in subtlety and sensitivity, and the quality is superb.

Great Artistry - Fantastic Sound.......2006-01-04

In the interest of continuing my SACD collection, I spend some time on Amazon buying well reviewed discs. These Beethoven Sonatas and Variations perf by Wispelwey and Lazie had no reviews, but since this was the only SACD with this repertoire, I did the blind buy. Boy, I'm glad I did.

First of all the sound!
The engineering on this one is just as good as it gets. This replaces "The Marriage of Figarro" by Jacobs as the most amazing sounding SACD in my collection, which speaks volumes. Incredible dynamics, richness, spaciousness (even though I only have a 2 channel setup - would love to hear multichannel), all audiophile accolades apply. Even the CD Redbook version sounded fantastic through my iPod. The richness and sparkle made the Pod sound strikingly deeper and richer, and just more real than any other material I have.

If you're looking for a reference SACD to amaze friends and family - look no further.

Second the Performance
The was where I had my biggest concern, given artists I wasn't familiar with and no reviews on Amazon. The performance flirts with greatness. Extremely nuanced and expressive yet driven and energetic. I can't recall ever hearing two artists mesh so perfectly together and speak so much with one voice over so much complex fare - this really amazed me. They went from driven and extroverted to hushed and soulful on a dime - and the playing in general had more of the passion and soulfulness I associate with the eras of the 50's and 60's. The technique and recording brilliance however was definitely state of the art.

The only possible negative on the performance (and not for me) is the absolutely sublime phrasing. The usual Beethoven angst isn't on display here, it's more leave you on a clould sublime ala Mozart. Of the various pieces I have other recordings of though, like with Mutter, Kahn etc, there wasn't a tremdous amount of pathos either. Probably just the nature of these more parlour like Sonatas - in which case criticism doesn't apply. And in any case I find these performances so much more compelling than those of Sophie-Ann or Kahn that I also own.

Sorry for gushing on so much, but getting such a shockingly good performance and recording on a blind buy was something I had to sound off about - especially with no other reviews on this yet. Just buy this, from my POV I can't even imagine better.

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