Beethoven: Piano Sonatas, Opp.109, 110, 111

1. Piano Sonata No. 30 in E major, Op. 109
Composed by Ludwig van Beethoven

2. Piano Sonata No. 31 in A flat major, Op. 110
Composed by Ludwig van Beethoven

3. Piano Sonata No. 32 in C minor, Op. 111
Composed by Ludwig van Beethoven

Tracks:

I. Vivace, Ma Non Troppo-Adagio Espressivo - Tempo I
II. Prestissimo
III. Andante Molto Cantabile E Espressivo: Var. I: Molto Espressivo/Var. II: Leggiermente/Var. III: Allegro Vivace/Var. IV: Un Poco Meno Andante, Cio E Un Poco Piu Adagio Como Il Tema/Var. V: Allegro, Ma Non Troppo/Var. VI: Tempo I Del Tema
I. Moderato Cantabile, Molto Espressivo
II. Allegro Molto
III. Adagio Ma Non Troppo-Arioso Dolente
IV. Fuga: Allegro Ma Non Troppo-L'istesso Tempo Di Arioso-L'istesso Tempo Della Fuga-Meno Allegro
I. Maestoso-Allegro Con Brio Ed Appassionato
II. Arietta: Adagio Molto, Semplice E Cantabile-L'istesso Tempo

Amazon.com

Beethoven's last three piano sonatas have long been regarded as the Mt. Everest of the form, heights that can be scaled only by pianists who possess the keyboard technique to realize the depth of the composer's vision. By those standards, if Uchida isn't the equal of such giants as Arrau, Kempff, and Schnabel, she certainly comes close enough to make this an outstanding release. Her pianissimos are feathery-light; her fortes are as powerful as one might wish, and her trills are analogues of Beethoven's spiritual ideas. She renders Beethoven's full dynamic palette with nuances that make every shading register. Uchida never makes an ugly sound. Her tone remains warm, colorful, and full-bodied. More important, her interpretation encompasses the inward, contemplative slow sections as well as the energetic ones, and she plays Beethoven's contrapuntal passages with a clarity that makes every musical strand count. She's helped by outstanding engineering, too. Not all of the transcendental Beethoven is captured here, but Uchida comes a lot closer than most pianists can aspire to. That alone makes this disc a must-have. -- Dan Davis

Customer Reviews:

NOT ALL IT'S CRACKED UP TO BE.......2007-05-20

I've heard Uchida many times, just last month for example. She is terrific in live perfomances, but on record, for some reason she is a little lame. This is, how should I say it, BOHHHRRRINNNNNGGGG!

And as sacrilgious as it may sound, opus 109, and 110 are not 'transcendental', but just ordinary pieces of music. If they were not Beethoven's they would not be given much shrift.

Not to get on another subject, but a lot of writing about Beethoven is 'The White Man's Burden' type nonsense.

Uchida - unparalleled.......2007-01-07

It has been clear to me for some time now that I listen to other aspects of musical renditions than most classical fans. Sure, the obvious aspects are important (hitting all the notes as it were) but this is merely the baseline. The extreme difficulty I experienced in finding an acceptable rendition of Bach's 48, for example, contrasted with the glowing reviews of many renditions which I own and have rejected as being unacceptably inaccurate.

Similarly, I had great difficulty finding a rendition of Beethoven's sonatas which made musical and rhythmical sense. Reading through the other reviews of this recording, several reviewers mentioned recordings I have - and cannot listen to. Although I only have two complete recordings of the sonatas, I have several other recordings of sonatas by a number of highly respected artists. I will not mention names here, as I feel that the mere fact that an artists has - in my opinion - failed to render a given piece acceptably, does not necessarily diminish the stature of the artist.

Rather, I would dwell on the rendition by Uchida. I have found with many recordings by Uchida (I have a fair collection) that her interpretation often seems to capture what I wanted to hear in the composition. This is certainly true of her recordings of Mozart and Schubert, amongst others. Here, as well, listening to the recording by Uchida (and, it should be mentioned, the recording is exceedingly fine in the technical domain as well) she not only captures the spirit of the compositions, but manages to find a timing - a rhythm - which, for me, is the first which resolves the many problems exhibited by these pieces. The timing of the Beethoven pieces are (in my probably irrelevant opinion) really critical. For the recording to make sense - to me, at least - an incredibly narrow path must be trodden when accelerating and decelerating between the fast and slow phrases, else the necessary tenuous link with the rules of progression and completion as laid down by Bach is lost, and they become senseless sequences of notes. Of course, my opinion on this issue certainly counts for nothing, but I find comfort in the fact that Uchida seems to agree with my take on the problem.

At last, in this masterly rendition, I have found a recording I can listen to. I had given up on these last three sonatas, now I can listen to them again with pleasure.

I believe this is simply the finest recording of these three works ever recorded, and one of the finest piano recordings in my collection. Unparalleled.

A trascendental musical achievement !.......2006-12-27

These last Beethoven's Piano Sonatas demand from the soloist a total commitment in order to convey the listener the entire eloquence and vanishing lyricism that hover every one of these transcendental Opus.

Let's start by the No. 30. I finf this is the weakest approach of the set. The second movement is played extremely fast. And this is an important issue to remark due this is essentially a dreamy work, of evident introspective character. In this sense there have been several winners Rudolf Serkin and his monumenta reading of the early fortues, Artur Schnabel and his impressive performance of the middle thrities and the superb version of Wilhelm Kempff of the early fifties in his mono cycle.

The 31th finds in Uchida in a fabulous rapport. She expresses this transfiguration stage in the last movement and that is the key of this work. Other fabulous version are to my mind Barenboim in the eighties.

And finally we have the best achievement of Mrs. Uchida in this so hard and elusive feature of this so hard to play piano Sonata. Uchida blended passion and introspection at the same time, crystalline phrasing and extraordinary fingering.

So, taking into account the remarkable fact of the youth of this first rate soloist, and the level of maturity exhiited by her in this first attempt and the absolute desert island pronouncement of the most solists of her generation, I think she has made an overwhelming and memorable attempt, and I don't have any doubt she is called to become one of the most important interpreters of Beethoven in the recent future, because she captured the ethos and spirit of these works.

Ahhhhhhhhhhhhh!!!!!!!!!!.......2006-12-25

Mitsuko Uchida is surely one of the more radiantly gifted pianists of our time. She never ceases to amaze with her performances with orchestras around the world, playing both the Romantic and the Classical and now contemporary concerti with utter ease, involvement and communication through the composer with the orchestra and the audience. But to hear her in solo recital is a gift.

And speaking of gifts, this CD of the Beethoven Piano Sonatas 109, 110 and 111 (the last sonatas) is one of the more treasured gifts she has produced. Even for those familiar with her brilliant technique and her ability to drive to the soul of a work, her performances in these daunting sonatas are astonishing fine. She can produce the largest of rich sounds and the most quiet moments, the agility of the rapid runs with the contemplative moments of the slow movements with equal grace. This CD is most assuredly one of the finest of the year. It leaves you breathless. Grady Harp, December 06

Superb.......2006-12-10

I adore Uchida's piano playing and this is a perfect example. Absoloutley riverting listening. Her interpretations are highly sensitive particularly her Mozart works for which she is known. Also try her violin sonatas with Mark Steinberg. Along with Zimerman, Sokolov she is one of the great living Pianists. The recording quality doesn't get much better either.

Timeless treasure....

Beethoven: Piano Sonatas Opp. 90, 101, 106, 109, 110 & 111

Average customer rating:

A labor of love from Solomon.
A Hammerklavier Like No Other
A Final Testament for Two...
Simply breathtaking

Beethoven: Piano Sonatas Opp. 90, 101, 106, 109, 110 & 111
Ludwig van Beethoven , and Solomon
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Beethoven: Piano Sonatas: No. 7 in D, Op. 10, No. 3; No. 8 in C Minor, Op. 13 (Pathetique); No. 13 in E Flat, Op. 27, No. 1; No. 14 in C Sharp Minor, Op. 27, No. 2 (Moonlight)
Beethoven: Piano Sonatas [Germany]
Beethoven: Die Späten Klaviersonaten
Beethoven: Piano Sonatas 17, 18, 21 & 22
Beethoven: Piano Sonatas 26, 27 & 29

ASIN: B000002S4V
Release Date: 2002-11-05

Tracks:

Piano Sonata No.28 in A major, Op.101: I Allegretto ma non troppo - L.V. Beethoven
Piano Sonata No.28 in A major, Op.101: II Vivace alla Marcia - L.V. Beethoven
Piano Sonata No.28 in A major, Op.101: III Adagio ma non troppo, con affetto - L.V. Beethoven
Piano Sonata No.28 in A major, Op.101: IV Allegro - L.V. Beethoven
Piano Sonata in B flat major, Op.106 (Hammerklavier): I Allegro - L.V. Beethoven
Piano Sonata in B flat major, Op.106 (Hammerklavier): II Scherzo (Assai vivace) - Presto - L.V. Beethoven
Piano Sonata in B flat major, Op.106 (Hammerklavier): III Adagio sostenuto - L.V. Beethoven
Piano Sonata in B flat major, Op.106 (Hammerklavier): IV Largo - Allegro - Allegro risoluto - L.V. Beethoven

Tracks:

Piano Sonata No. 27 In E Minor, Op. 90: I Mit Lebhaftigkeit und durchhaus mit Empfindung und Ausdruck - Beethoven
Piano Sonata No. 27 In E Minor, Op. 90: II Nicht zu geschwind und sehr singbar vorzutragen - Beethoven
Piano Sonata No. 30 In E Major, Op. 109: I Vivace ma non troppo - Adagio espressivo - Beethoven
Piano Sonata No. 30 In E Major, Op. 109: II Prestissimo - Beethoven
Piano Sonata No. 27 In E Major, Op. 109: III Tema (Andante molto cantabile ed espressivo) - Variazioni I - VI - Beethoven
Piano Sonata No. 31 In A Flat Major, Op. 110: I Moderato cantabile, molto espressivo - Beethoven
Piano Sonata No. 31 In A Flat Major, Op. 110: II Allegro molto - Beethoven
Piano Sonata No. 31 In A Flat Major, Op. 110: III Adagio ma non troppo - Fuga (Allegro ma non troppo) - Beethoven
Piano Sonata No. 32 In C Minor, Op. 111: I Maestoso - Allegro con brio ed appassionato - Beethoven
Piano Sonata No. 32 In C Minor, Op. 111: II Arietta (Adagio molto semplice e cantabile) - Variazioni I - IV - Coda - Beethoven

Customer Reviews:

A labor of love from Solomon........2000-11-15

I agree with the other reviewers that this set of Beethoven's late piano sonatas is extraordinarily good. And while the performance of the "Hammerklavier" is extremely good (every review I've ever read praises it to the skies), I just can't help quibbling with the tempo of the first movement. Beethoven's metronome marking is for an extremely fast tempo (in cut-time, one-half note = 138), and like almost all pianists, Solomon plays it too slowly. But he plays it faster than many. And his performance of the surpassingly beautiful slow movement is quite moving indeed.

The performances I like best on this set, however, are the lyrical sonatas: Opus 90, Opus 109, and Opus 110. I wouldn't be without them, and sometimes they are almost daily fare. This is late Beethoven at its best. Get this set. You can't go wrong. Incidentally, the late English pianist and accompanist, Gerald Moore, always used to praise Solomon lavishly. After listening to these recordings, you will understand why.

A Hammerklavier Like No Other.......2000-10-12

If your looking for a "Hammerklavier" to add to your library, you can't go wrong with this one. This release won Gramophone Magazine's award for remastering of historical material and justly so. I've listened to this one again and again over the past few years and I never grow tired of it. An excellent buy.

A Final Testament for Two..........1999-11-25

For those looking for the "Last Word" in solo piano repertoire: LvB's final half-dozen sonatas on his favorite instrument, recorded by British pianist Solomon (nee Cutner) between 1951-1956, just before his own career-ending stroke. To those who think Sviatoslav Richter's "TEMPEST" and Rudolf Serkin's "MOONLIGHT" and "PATHETIQUE" are definitive: so too are these. With only minor sound issues (a small edit blip towards the end of Sonata No.31 and Mono sound in general) these performances transfix more than all the others (Brendel, Kempff, Pollini, Hess) I have experienced. Listen to No.32 and... The End.

Simply breathtaking.......1998-09-11

Maurizio Pollini may have nailed every nuance of this music to technical perfection in his late '70s recordings for Deutsche Grammophon, but only the late British pianist Solomon imbues these sonatas with transcendent vision. The honor of listening to music this fine is akin to holy communion with Beethoven himself. Not to be missed.

A Beethoven Trilogy: The Last Three Sonatas, Opp. 109, 110 & 111

Average customer rating:

Rosenbaum Brings These Works Home

A Beethoven Trilogy: The Last Three Sonatas, Opp. 109, 110 & 111

Manufacturer: Bridge Records, Inc.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Indie Music | Stores | Music
Similar Items:

Rosenbaum performs Schubert: Moments Musicaux Op. 94

ASIN: B0006SHNHY
Release Date: 2004-12-01

Tracks:

Sonata No. 30 in E Major, Opus 109 - I Vivage ma non troppo
Sonata No. 30 in E Major, Opus 109 - II Prestissimo
Sonata No. 30 in E Major, Opus 109 - III Andante molto cantabile ed espressivo (Gesangvoll, mit inningster Empfindung)
Sonata No. 31 in A-flat Major, Opus 110 - I Moderato cantabile molto espressivo
Sonata No. 31 in A-flat Major, Opus 110 - II Allegro molto
Sonata No. 31 in A-flat Major, Opus 110 - III Adagio, ma non troppo; Arioso dolente (Klagender gesang)
Sonata No. 31 in A-flat Major, Opus 110 - IV Fuga: Allegro, ma non troppo; L'istesso tempo di Arioso
Sonata No. 31 in A-flat Major, Opus 110 - V L'istesso tempo della Fuga poi a poi di nuovo vivente (nach und nach wieder auflebend)
Sonata No. 32 in c minor, Opus 111 - I Maestoso - Allegro con brio ed appassionato
Sonata No. 32 in c minor, Opus 111 - II Arietta: Adagio molto semplice e cantabile

Album Description

Written between 1820 and 1822 at a time when Beethoven was suffering from a variety of maladies including nearly total deafness, each of these three sonatas stands alone as a great artistic achievement. Heard together in Victor Rosenbaum's magisterial performances, these works remind us of what vast new territories of the imagination Beethoven explored. Pianist Victor Rosenbaum became a member of the piano faculty at the New England Conservatory in 1967, and went on to head both the piano and chamber music departments at NEC. In addition to his long tenure at NEC, Rosenbaum was Director and President of the Longy School of Music from 1985 to 2001, where he continues as a faculty member. Victor Rosenbaum has toured as a soloist throughout Europe and the USA, and in 1996 made his first solo recording for Bridge Records-a highly acclaimed Schubert recital (BRIDGE 9070). In this recording, made in Boston's acoustically superb Jordan Hall, Rosenbaum plays Beethoven's final three sonatas in powerfully insightful readings.

Customer Reviews:

Rosenbaum Brings These Works Home.......2007-02-12

This is the single most satisfying recording I own of Beethoven's last three piano sonatas. I rank it alongside Gilels' offering.

Claudio Arrau was once noted to have observed that you can't really play the late Beethoven sonatas unless you're at least 50 years old. By that, I believe he meant that you have to have lived and contended with a certain minimum set of important emotional milestones and experiences that can only occur with maturity. I have come to increasingly appreciate Arrau's observation, especially listening to the performances of younger artists. It seems that some of what is being said in these late works simply goes over their heads. In contrast, none of the emotional terrain these works cover is lost on Maestro Rosenbaum.

I had the pleasure of meeting Maestro Rosenbaum and playing for him in a master class. I also observed him with other pianists during their master class sessions as well. Rosenbaum brings a rare and refreshing psychological-mindedness to his interpretation of a composer's work. His playing reflects this approach in that his performance of a work feels like the unfolding of a compelling and inevitable emotional drama. After listening to him, I feel I've been told a story, even if I can't remember any of the words.

If you are looking to be emotionally moved by these works, you will be very pleased with this disc.

Beethoven: Piano Sonatas Opp. 109, 110, 111

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Beethoven: Piano Sonatas Opp. 109, 110, 111

Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00005BGWR
Release Date: 2001-04-24

Average customer rating:

Hidden treasures

Beethoven: Piano Sonatas, Opp. 109, 110, 111

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000004204
Release Date: 1992-11-10

Customer Reviews:

Hidden treasures.......2006-01-06

Being out of print now for some time -at least in the Netherlands- this seems a hidden treasure of some sorts.
Allthough Vladimir Ashkenazy recorded Beethoven's sonatas integrally in the late seventies, the final three sonatas do not compare with these versions from 1992.

Recording quality seems slightly different from the original Decca version - a bit more dynamically understated, yet with the same sense of etheric ambiance: One can hear birds singing outside Sint John's Hall in Luzern...

Well, on to the music then; Beethoven's late pianosonatas are, as his late string-quartets, pieces of singular transcendent beauty.
A tryptich, they really cannot be seen as individual sonatas and Ashkenazy understands this. It is as if the sonatas are part of an initiation into a realm impossible to define in words-only to be entered through pure music. Every preceeding sonata a necessary stage of a musical quest for salvation, nobody seems to realize this better than Ashkenazy.

In some respects it seems that Ashkenazy pays hommage to the great Sviatoslav Richter- he shares his deep insight of Beethoven's epic view, creating a fluid language in which piano does not sound anymore as an instrument with limitations, yet begins to sound as something almost like a vesperian choir- the transition from the frenzied hymnic fuga's final part of opus 109 to the soothing wisdom of the first part of opus 110 can only be described as historical- the last tone lingers in quiet resignation as the first tone(not of hope, but of trust)of opus 110 allready preludes to the wondrous awakening of the Arietta of opus 111.

Yet Ashkenazy is not tempted by the raving austerity allways present in Richter's impatient playing- every note is to Ashkenazy a universe in itself...One holds ones breath to witness the fragile ascension of the Arietta, only to find one's Self in this evocative search of the spirit.

I do not know what happened during these recordings, but I do know it is something of great significance, something that surpases mere discussions of authenticity, interpretation etc.
It is after all, the music that has to flow freely, not something that is appropriate or 'authentic'.

Some may prefer a more intellectual approach, such as Alfred Brendel's brilliant rendition of these works. I for one do not believe in one absolute version- as necessary and true- there are many renditions of great merit and Brendel's is one of them.
However... compared to Ashkenazy it lacks to me a certain feel of continuity and coherence and sounds analytical compared to Ashkenazy's sublime humanity.

Not to forget Maurizio Pollini's classic recording... If you would twist my arm: Yes, of course Pollini's version is much closer to 'authentic Beethoven'. It is very immediate and has an almost irresistable rythmic drive to it, one can only love...

Yet again- Ashkenazy much better understands the inherent beauty of these works-he alone seems to really fathom the profound truths of these works- truths that can only be pervayed in singing- something I only have witnessed in Ashkenazy's now beyond virtuosity playing. If I listen to them I FEEL the essential message of these sonatas. What it is? find out yourself...

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