Beethoven: Piano Concertos No.1 and No.3

On this CD:

1. Piano Concerto No. 1 in C major, Op. 15
Composed by Ludwig van Beethoven
Performed by Sviatoslav Teofilovich Richter
Conducted by Kiril Kondrashin

2. Piano Concerto No. 3 in C minor, Op. 37
Composed by Ludwig van Beethoven
Performed by Sviatoslav Teofilovich Richter
Conducted by Kiril Kondrashin

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Andante Cantabile Con Moto
III: Menuetto & Trio: Allegro Molto E Vivace
IV: Adagio - Allegro Molto E Vivace
I: Allegro Ma Non Troppo
II: Andante Molto Mosso
III: Allegro - In Tempo D'allegro - Tempo I
IV: Allegro
V: Allegretto

Tracks:

I: Allegro Con Brio
II: Marcia Funebre: Adagio Assai
III: Scherzo & Trio: Allegro Vivace
IV: Finale: Allegro Molto - Poco Andante - Presto
Gross Fuge

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Larghetto
III: Scherzo & Trio: Allegro
IV: Allegro Molto
I: Allegro Con Brio
II: Andante Con Moto - Piu Mosso - Tempo I
III: Allegro -
IV: Allegro - Presto

Tracks:

I: Adagio - Allegro Vivace
II: Adagio
III: Menuetto: Allegro Vivace - Trio: Un Poco Meno Allegro
IV: Allegro Ma Non Troppo
I: Poco Sostenuto - Vivace
II: Allegretto
III: Presto - Assai Meno Presto
IV: Allegro Con Brio

Tracks:

I: Allegro Vivace Con Brio
II: Allegretto Scherzando
III: Tempo Di Menuetto
IV: Allegro Vivace
Overture
Overture
Overture
Overture

Tracks:

I: Allegro Non Troppo, Un Poco Maestoso - Christa Ludwig
II: Molto Vivace - Presto - Christa Ludwig
III: Adagio Molto E Cantabile - Andante Moderato - Christa Ludwig
IV: Presto - Recitativo - Allegro Assai - Alla Marcia - Christa Ludwig
Overture - Christa Ludwig

Tracks:

I: Allegro Con Brio
II: Largo
III: Rondo: Allegro Scherzando
I: Allegro Con Brio
II: Adagio
III: Rondo: Molto Allegro

Tracks:

I: Allegro Con Brio
II: Largo
III: Rondo: Allegro
I: Allegro Moderato
II: Andante Con Moto
III: Rondo: Vivace

Tracks:

Fantasia For Piano, Chorus And Orchestra
I: Allegro
II: Adagio Un Poco Mosso -
III: Rondo: Allegro

Amazon.com essential recording

Otto Klemperer's Beethoven is one of the towering achievements in the history of recordings. By today's standards, these performances are hopelessly old-fashioned: dark, heavy, and frequently very slow. But they are also the grandest, most unsentimental, most purposeful versions in the catalog. In addition, the relatively slow tempos (only in the fast movements--the slow ones are pretty swift) and forward wind balance permit more detail to be heard than in most original-instrument performances. At budget price and with the entire piano concerto cycle thrown in for good measure, this is greatness incarnate. --David Hurwitz

Customer Reviews:

Great Performance.......2007-07-07

There are many different ways to perform Beethoven and each one is valid.
If you like it fast - go to Toscanini or Norrington. If you prefer slow, powerful and majestic, this is your set. Towards the end of his distinguished career, the great Otto Klemperer set down his final views of the performance of these symphonnies. The set is a coherent whole and will give great pleasure for ever. The challenging mix of the young Barenboim and the aged Klemperer worked surprisingly well and thus the concertos may also be recommended. There are odd additional items which add to the pleasure. Finally do not forget to purchase his memorable set of 'Fidelio' to complete your traversal of a great conductor giving great performances of a composer that he loved. Finally the price is ridiculously low and provides quality and quantity at a great price. Thus you should be able to buy the opera set from the savings made!

Great Analog Beethoven Cycle.......2007-05-07

This Klemperer cycle is just one of a dozen or so GREAT analog Beethoven symphony cycles that were recorded during Analog's golden age starting about 1958. These cycles are easily a match for digital and they should still be around for another 1,000 years, if the Lord tarries. These sets include: Karajan (twice, early 60s and late 70s) Bohm, Krips, Jochum, Bruno Walter, Leinsdorf, Rene Leibowitz, Szell, Ormandy, Bernstein, Steinberg, and Solti. This morning I listened to the Klemperer recordings of Beethoven's symphonies 5, 6, & 7. Very enjoyable, I got my Beethoven RDA fix.

Of all these Analog sets, I most enjoy the Leibowitz Spring 1961 cycle with the Royal Philharmonic. I have this cycle on an audiophile early 90s European import Edition Phoenix label special pressing "on extra virgin vinyl." These are by far the best analog symphonic lps I have ever heard from a recording standpoint. BY FAR! And they will rock your house.

You can almost justify Karajan's 4 recorded Beethoven cycles and one video based upon improvements in recording technology. Thru Rhapsody, I have listened to his mid 50s cycle and the orchestra sounds great, but the recording quality is sub par compared to Analog's golden age. So the rational for 4 cycles would be, (1) recent great improvements in recording technology (early 60s), (2) it has been 15 years and he has grown as an artist (late 70s), (3) we now have digital! Let's do one of the first Beethoven digital cycles (80s).

Klemperer is a no-brainer. I do not have to think twice about plopping one of his lps onto my turntable or hitting the play button at Rhapsody. When the music starts, the listening pleasure begins. Don't miss his Bruckner symphony recordings!

An essential collection.......2007-04-25

How best to describe Otto Klemperer's perspective on Beethoven's symphonies: grand, heroic, intense, insightful, stubborn, obstinate, detailed, dramatic, monumental, granitic, deeply emotional, never sentimental. This boxed set of the complete symphonies and concerti embodies all of these elements as stands as one of the great achievements of recorded music.

These performances were recorded with the Philharmonia Orchestra at its peak, in the sumptuous acoustics of Kingsway Hall in London and in fine and detailed sound, and mostly in the mid-1950's during one of the brief charmed periods of Klemperer's life. EMI's impresario Walter Legge had made him permanent conductor of the Philharmonia, and when Klemperer embarked on this project in his 70's, he was in relatively good mental and physical health (Klemperer could show symptoms of manic depression and survived many health crises - brain tumor, broken bones, paralysis - which would have stopped most people).

By this time Klemperer had slowed the tempi of the fast movements of the Beethoven symphonies (listen to his early 1950's recordings of the 5th and 6th on Vox to hear by how much). This tendency is more pronounced in these studio recordings than in the live performances which were recorded during that era. The slowness is mostly saved by Klemperer's use of "sprung" rhythms, which keep the slow tempi from feeling laggardly.

Klemperer's earliest recordings in this series - symphonies 3, 5 and 7 - predate stereo and were recorded in excellent monaural sound. He rerecorded all three of these symphonies in stereo, but those recordings were made after he burned himself by falling asleep while smoking in bed. All three performances feature slower tempi than the earlier ones (whether this was the conductor's preference or the result of physical incapacity is open to conjecture). In particular, the rerecorded 7th suffered from lax phrasing, inattentiveness and perverse tempi. That is NOT the version contained in this set: fortunately, EMI had simultaneously recorded the earlier version of the 7th in "experimental" stereo, and it is that earlier version which is released here (and in remarkably good stereo). The versions of the 3rd and 5th are the rerecorded stereo ones.

You will find no finer studio versions of the 2nd, 4th, 6th, 7th or 8th. All are insightful, beautifully detailed and powerful. The 2nd clearly looks forward to the 3rd and not back toward Hayden, the 4th is boisterous and vital, the 6th bucolic and sumptuous (not a quality normally associated with Klemperer), the 7th gains in drama what it loses in swiftness and lightness, and in the 8th in particular we see the conductor's empathy to Beethoven's sense of humor. Klemperer had a deep affinity for the "Eroica", and the rerecorded version here, while slower than the 1955 recording, was dubbed by "High Fidelity"'s Harris Goldsmith (no Klemperer fan, he) as "the best Eroica going slow" and is a monumental masterpiece (the second movement is shattering). The 1st, while leisurely, is a lovingly crafted.

That leaves the 5th and 9th. There is no doubt in my mind that the earlier, mono 5th is superior to the remake in this set. We lose that sense of an inevitable onslaught, especially in the outer movements. And the 9th, while similar in conception to the live versions recorded around the same time (on Testament with the Philharmonia and on Music&Arts with the Concertgebouw), suffers from diffuse sound and occasional lack of focus. I emphasize that these recordings of both symphonies are still head and shoulders above most of the competition; we're talking about different levels of greatness here.

Are there superior Klemperer recordings of these symphonies? Yes; but all are live, and despite the relatively good reprocessed sound, they don't reveal the same level of detail that these studio recordings do. Klemperer was a very different conductor in front of an audience, and there is more vitality and drama in the live versions of the 3rd (Testament, with the Danish Symphony), 6th 7th and 8th (Music&Arts with the Concertgebouw) and the 9th (see above). Music&Arts' set of the complete symphonies, recorded live in Vienna in 1960, is long out of print and had cramped sound with poor detail - a supplement to this set, not a replacement.

As to the piano concerti: they are better than one might expect. Barenboim, although steeped in the Germanic performance tradition, is more naturally aligned with the Furtwangler and Edwin Fischer than with Klemperer. However, the two of them actually work together extremely well and this is a fine, insightful set.

Any complete cycle of Beethoven, symphonies or concerti, will have drawbacks. There will be unevenness in the performances, as there are here. But there are advantages to hearing one musician's perspective on the works, especially when (as here) the performer has depth of understanding, integrity of vision, and a structural understanding of the pieces.

The digital remastering is excellent and the sound barely shows its age. This may not be your only complete set of Beethoven's symphonies, but it should be one of them. And at a price this low, it's a bargain too.

The best value in classical music on CD at the moment..........2007-01-02

What is the best value in classical discs available today ? Who knows, but I defy anyone to beat the EMI compilation of Klemperer' recordings of the complete Beethoven Symphonies, Piano Concertos (with Barenboim), several overtures the Choral Fantasia etc etc. 9 discs for only $44 ( well that was the price I paid). You have got to be kidding... I only had two concerns with buying this. First on the age of the recordings, all more than 40 years old. No worry at all. This is a masterpiece of reconstruction. The sound quality indistinguishable from any modern recording. Secondly , the performances themselves. I had been warned that Klemperer notoriously chose rather slow tempi. Again I needn't have worried. I immediately went to the slow movements of the 2nd piano concerto and the fourth symphony, where many slow tempists have in the past come unstuck. The piano concerto was an absolute revelation. The combination of the youthful Barenboim and the Philharmonia's masterful playing time and gain had me on the edge of my seat. " Yes,go on, well...." Slow it may have been. Boring, never. The same applies in spades to the slow movement of the fourth. Right from the eerie opening, which is yes, very slow indeed, I knew this movement would be a revelation and I can honestly say I have never hear it better played. Follow this with a scherzo bounding in energy and thumping finale and you will never get a better performance of this, one of Beethoven's "lesser" symphonies. And I haven't even got round to the "biggies" yet! The box set looks unattractive and the portrait of Klemperer makes him appear a first class nerd. Pay absolutely no attention to this....

Wonderful Performances.......2006-04-07

I have admittedly not made it through the entire set as of yet, but feel sufficiently blown away by the First Symphony and the Eroica - particularly the second movement of the latter - to weigh in here. With respect to the tempo issue, I must - at least so far - argue in favor of Klemperer's decision to slow things down a bit. I think the effect is, as someone else has observed, a clearer and more visceral experience of Beethoven's composition. It brings out the feeling. The sound comes up a little short on the low end, but it isn't a major distraction. My only problem lies in EMI's inexplicable lack of any discussion of the performances. The notes are bland, dry descriptions of the pieces themselves, with some basic history thrown in. Given the fact that there are probably hundreds of different CDs of Beethoven's symphonies out there, all with similar explanatory notes, it is infuriating that nothing is said about these particular performances. This is in contrast with the EMI Bach set (with Yehudi Menuhin) in which there is a wonderful essay that discusses Menuhin's work in historical context.

Average customer rating:

beethoven piano concerti
wished it was not a set
Wonderful set!
What is Ashkenazy up to?
Beautiful, but not perfect

Beethoven: The Piano Concertos

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041K9
Release Date: 1997-06-24

Tracks:

Piano Concerto No. 1 In C Major, Op. 15: I. Allegro con brio
Piano Concerto No. 1 In C Major, Op. 15: II. Largo
Piano Concerto No. 1 In C Major, Op. 15: III. Rondo: Allegro
Six Bagatelles, Op. 126: I. Andante Con Moto, Cantabile E Compiacevole
Six Bagatelles, Op. 126: II. Allegro
Six Bagatelles, Op. 126: III. Andante, Cantabile E Grazioso
Six Bagatelles, Op. 126: IV. Presto
Six Bagatelles, Op. 126: V. Quasi Allegretto
Six Bagatelles, Op. 126: VI. Presto-Andante Amabile E Con Moto
Fur Elise

Tracks:

Piano Concerto No. 3 In C Minor, Op. 37: I. Allegro con brio
Piano Concerto No. 3 In C Minor, Op. 37: II. Largo
Piano Concerto No. 3 In C Minor, Op. 37: III. Rondo: Allegro
Piano Concerto No. 4 In G Major, Op. 58: I. Allegro moderato
Piano Concerto No. 4 In G Major, Op. 58: II. Andante con moto
Piano Concerto No. 4 In G Major, Op. 58: III. Rondo: Vivace

Tracks:

Piano Concerto No. 5 In E Flat Major, Op. 73: I. Allegro
Piano Concerto No. 5 In E Flat Major, Op. 73: II. Adagio un poco mosso
Piano Concerto No. 5 In E Flat Major, Op. 73: III. Rondo: Allegro
Piano Concerto No. 2 In B Flat Major, Op. 19: I. Allegro con brio
II. Adagio: 2. Adagio
Piano Concerto No. 2 In B Flat Major, Op. 19: III. Rondo: Molto allegro

Amazon.com

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

Customer Reviews:

beethoven piano concerti.......2007-05-07

the article was in good condition and i had a smooth and prompt delivary

wished it was not a set.......2006-10-27

All I can comment right now, is the performance of the Beethoven piano concerto 1 with the Chicago Symphony Orchestra was poor. The playing was stiff, the orchestra was below what they should be. I thought I even heard some off key notes from the band! Disappointed. Maybe I am just so used to how Martha Argerich plays it... However the rest of the discs are fantastic, what a contrast!!!!!!

Wonderful set!.......2005-05-03

Ashkenazy is more sweet in his playing than profound, Solti and the CSO are on fire, and the Decca sound is excellent! Good job!

What is Ashkenazy up to?.......2004-05-16

After purchasing Ashkenazy's complete set of the Mozart concertos, I decided to get this one of the Beethoven concertos. Although some of the reviewers had voiced complaints about this set, I felt that it couldn't be that bad. Indeed, it's not that bad, but its not that good either.

To me, it seems as if Ashkenazy has no sense of style. His approaches to these concertos are more lyrical and romantic rather than classical. Take the first, for example. Ashkenazy treats the piano line as if he were playing Chopin. Solti, on the other hand, seems to feel that louder is better. Thus we have a very bizarre dialogue between piano and orchestra in the C major concerto. The second isn't much better. Although Ashkenazy gives a much better reading, Solti again feels that the CSO must play as forcefully as possible. The concerto is rather bland in the first place and Ashkenazy's approach is nothing special. The third concerto is wonderfully played by both Ashkenazy and the CSO. Ashkenazy treatment of the piano line is more classical while Solti's boisterous approach actually works in this powerful work. However, poor recording conditions (the evident hiss in the background) ruin the largo. The G major concerto is the most interesting in the set. Solti's treatment of the orchestra accompaniment is quite inspired - this is Solti at his most tender. However, Ashkenazy's icy interpretation is detached, it seems as if he and Solti are on two entirely different pages. Although the recording is remarkable in its beauty, Ashkenazy's lack of warmth leaves a chilling cloud over the performance. The fifth is nothing special. Solti is back to being loud and Ashkenazy gives a good, routine performance.

All in all, even at a budget price, this set is not highly recommended.

Beautiful, but not perfect.......2004-02-16

This is a good set of the piano concertos. However, the main problem is in the Fifth (Emperor): the second movement is extremely slow and faltering. This is one of the most beautiful pieces ever composed and the second movement MUST be perfect, as the version of Perahia: astonishing sensible, rhythmic.

Customer Reviews:

excellent beethoven cycle.......2005-04-16

Emanuel Ax really understands the poetic heart of this music. He highlights the dark melancholy of beethoven's music without ever becoming sacharine or sentimental. However, those looking for a barn burnig version of these concertos would do well to look elseware: Ax's performance is understated, with a focus on nuance, precision, color and dynamic shading. He never resorts to vulgar clanging in the forte passages. While not lacking in passion, his performance simly lets the music speak for itself.
One minor quible: the Choral Fantasy sounds like it was recorded in a TB ward, and the overall sound of this piece is notably inferior to the rest of the cycle. This is understandable, because the Fantasy was recorded live and at a different venue than the other recordings.
For an excellent Choral Fantasy, check out Helene Grimaud's "Credo" on DG.
Buy this set for the concertos.

Nice Surprise!.......2004-04-11

I bought this box set of Beethovens piano concertos on a whim about one month ago and what a nice surprise that turned out to be. The CD containing concertos 3 and 4 has been (by far) the most frequently played disc in our household ever since. Ax, with his sublime technique, really shines in these two and Previn is in perfect sync with him. I also have to commend the producers: The sound, balance etc. is excellent and puts a lot of more recent recordings to shame.

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

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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!

Average customer rating:

Academic and expressive
Not first tier, but pretty decent nonetheless
A Warmer, More Expressive Brendel
Brendel & Levine - great performance
A first rate performance much preferable to his later work

Beethoven: The Five Piano Concertos

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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Beethoven: Complete Piano Sonatas

ASIN: B0000041MN
Release Date: 1997-07-15

Tracks:

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

Tracks:

Piano Concerto No. 3 In C Minor, Op. 37: I. Allegro con brio
Piano Concerto No. 3 In C Minor, Op. 37: II. Largo
Piano Concerto No. 3 In C Minor, Op. 37: III. Rondo: Allegro
Piano Concerto No. 4 In G, Op. 58: I. Allegro moderato
Piano Concerto No. 4 In G, Op. 58: II. Andante con moto
Piano Concerto No. 4 In G, Op. 58: III. Rondo: Vivace

Tracks:

Piano Concert No. 5 In E-Flat, Op. 73 'The Emperor': I. Allegro
Piano Concert No. 5 In E-Flat, Op. 73 'The Emperor': II. Adagio un poco mosso
Piano Concert No. 5 In E-Flat, Op. 73 'The Emperor': III. Rondo: Allegro

Amazon.com

Recorded live in 1983, Alfred Brendel's third go-round with these works drastically improves on his previous Beethoven concerto cycles. He finds a calmer, more direct route to the Emperor Concerto, although the Fourth's first movement is still pock-marked with finicky phrase adjustments that pull focus from the music's poetic arcs. Levine provides sympathetic and alert support, yet is much more than a mere deferential accompanist. --Jed Distler

Customer Reviews:

Academic and expressive.......2005-05-31

Alfred Brendel is probably the most knowledgeable Beethoven interpreter that we have seen in the past half century along with Richard Goode. It also helps that he is a phenomenal pianist and chamber musician. When listening to these performances I got a sense of a warmer more intimate ideal for the works, not everywhere, it was as soloistic as these need to be, but the connection between melody and accompaniment was very well balanced right on par with Fleisher and Szell. Levine gives the music everything it needs and the Chicago Symphony plays wonderfully. The live recording gives these works a wonderful atmosphere and the audience is reverently silent. If you want to seek out individual performances of these concertos by all means do it but for a box set of them all I would recommend this as well as his more recent with Rattle, as well as Fleisher and Arrau. All of them are wonderful however this is by far the best live recording of these works. Highly recommended

Not first tier, but pretty decent nonetheless.......2003-10-24

Echoing another reviewer, I don't believe Brendel's third go-round with the Beethoven concerto cycle is on a par with Arrau or Ashkenazy, but it is by far Brendel's best effort, demonstrating lyricism that, unfortunately, one cannot always depend on. It is a worthy addition to the serious music lover's collection, although I would not want to make it my only resource for the Beethoven concerti.

A Warmer, More Expressive Brendel.......2001-04-04

Alfred Brendel doesn't come across as a meticulous craftsman, but instead, as a lyrical, joyful interpreter of Beethoven in this version of Beethoven's piano concerto cycle which he recorded with James Levine and the Chicago Symphony Orchestra at the CSO's Ravinia Festival in the early 1980's. While this won't replace my recordings of Arrau, Perahia, Kovacevich or Ashkenazy performing these concerti, Brendel's third traversal is one of the best performed - and recorded - versions currently available. His warm, expressive playing reaches its peak in the last two concerti. Both Levine and the CSO are admirable, sympathetic accompanists. If you are looking for your first set of Beethoven piano concertos or your latest, then you certainly won't go wrong with these fine performances.

Brendel & Levine - great performance.......2000-07-27

Quite simply, Brendel & Levine create one of the most emotionally rewarding performances of the Beethoven piano concertos - especially the 4th concerto.

A first rate performance much preferable to his later work.......1999-03-31

In this release, Brendel again ventures - or should I say, ventured (back in 1983)? - forth on well-trodden ground, but his performance is defeinitely the best he has produced so far and much better than his recent live performances (BPO, VPO). It has a clarity and freshness that stands in sharp contrast to his later, more rigid and inflexilbe style. Levine and the CSO provide a perfect orchestral foil for his playing. The range and quality of sound are impeccable as well. (Wolfgang, from Vienna, Austria)

Average customer rating:

I may be in the minority, but this does not work for me

Beethoven: The 5 Piano Concertos

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Mitsuko Uchida Plays Schubert

ASIN: B0009A41WE
Release Date: 2005-10-11

Tracks:

I. Allegro Con Brio
II. Largo
III. Rond: Allegro Scherzando
I. Allegro Con Brio
II. Adagio
III. Rondo: Molto Allegro

Tracks:

I. Allegro Con Brio
II. Largo
III. Rondo: Allegro
I. Allegro Moderato
II. Andante Con Moto
III. Rondo: Vivace

Tracks:

I. Allegro
II. Adagio Un Poco Mosso
III. Rondo: Allegro Ma Non Troppo
32 Variations On An Original Theme In C Minor, WoO 80

Customer Reviews:

I may be in the minority, but this does not work for me.......2007-03-01

I approached this with great hopes. I'd just heard some of Uchida's Mozart sonatas and Debussy etudes, and enjoyed both, though neither, perhaps, to justify her reputation. But I've long respected Sanderling. I love the Concertegebouw and other orchestras he conducts. Philips is my favorite label for sound. Should be a dream set, right?

Oh, why do dream sets always go so wrong? I literally have not been able to get through one movement in this box. They all sound so detached to me. Uchida plays with perfect control, but in my view she does not understand Beethoven, with her fussy trills and dynamics that are outsized from those of the orchestra, especially in the delicate Fourth. She and Sanderling seem to be on separate planets as they perform these works. But even in the solo 32 Variations in C minor I get nothing from her. This is not "great" Beethoven, but it's always been a big favorite of mine because of the impromptu nature of the work--unlike almost all other Beethoven, it sounds as though it were written in a white-heat, sort of a 19th century jam session or cutting contest. Here I get none of that spontaneity; just thoughtless re-tar-dan-does at the end of big phrases and the big slowdown at the end just before the last chords. Sort of an autopilot performance. Surely Uchida must have thought about what this music (all of it) means, but I get no indication when I listen to this. Similarly in the 3rd concerto, her rather fantasia-esque cadenza in the first movement sounds at odds with her and Sanderling's straightforward, four-square interpretation of the rest of the movement. Emotionally it feels like they never connect.

According to Arrau, Sanderling is the only conductor he ever worked with who saw the first movement of the Fourth Concerto as sad. He says they never even talked about it; it was just instinctual. I don't get that feeling in this recording. I got to the second part of the development section and had to eject the disc in disappointment and disgust. This is probably my favorite piano concerto, and certainly my favorite Beethoven concerto, but here I get none of the rhapsodic flow of melodies, the soaring and falling dynamics, the delicate, the inevitable build to the recap, or long-range pacing and structural understanding that make Arrau/Galliera or Arrau/Haitink or Kempff/van Kempen so special. Admittedly this is a hard nut to crack, and admittedly I have some very personal views on how this music should go (more elegiac than anything else), but still, I'd settle for *any* personal view, and my main complaint here is not a disagreement of a strong-minded interpretation on Uchida's part but rather a lack of any interpretation on Uchida's part. The others are similarly sterile, like Beethoven through a public address system, or an interoffice memo. All that is special about Beethoven has been removed. Instead we have "flawless" playing that has the charm and character of a block of wood.

Maybe Uchida is just wrong for Beethoven. She's a colorist, and colorists do not do well in LvB's music. She also seems to specialize in lighter, more transparent works, and Beethoven calls for some pounding, some fist-shaking at the gods, as well as sudden, almost bipolar changes to sweetness and innocence. She doesn't deliver the goods. She's too refined and aristocratic and all glass surface. Some other reviewers have compared her favorably to Grimaud in the 4th--another incredible misfire in my opinion. Even more puzzling is Sanderling. Maybe he just didn't strike fire with her. Maybe he did, but I'm not hearing it. Maybe he's just getting old. But this is not among his better work, in my opinion.

The sound is a bit bright, especially with the piano, which is very upfront and seems to often get louder as Uchida plays high on the scale--or is she just involuntarily crescendoing? This sounds fine in my car but lousy on my better-quality home system. The cynic in me says they're now engineering CDs more for automobile listening and iPods than anything else. This one is going into my "sale" pile right away.

Average customer rating:

Mostly Magnificent Menuhin, with a Few Reservations

The Violinist
Yehudi Menuhin , Johann Sebastian Bach , Bela Bartok , Ludwig van Beethoven , Alban Berg , Johannes Brahms , Max Bruch , Arcangelo Corelli , Edward Elgar , Franz Joseph Haydn , Edouard Lalo , Felix Mendelssohn , Wolfgang Amadeus Mozart , Carl Nielsen , Niccolo Paganini , Camille Saint-Saens , Jean Sibelius , Pyotr Il'yich Tchaikovsky , Michael Tippett , Henri Vieuxtemps , Antonio Vivaldi , William Walton , Alberto Lysy , Anatole Fistoulari , Antal Dorati , Anthony Bernard , Gaston Poulet , John Pitchard , Mogens Woldike , Pierre Boulez , and Rafael Frühbeck de Burgos
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

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Heifetz Showpieces

ASIN: B0000BWTKJ
Release Date: 2003-11-04

Tracks:

I. Allegro
II. Affettuoso
III. Allegro
I. Allegro
II. Andante
III. Allegro Assai
I. Allegro
II. Adagio
III. Allegro Assai
I. Vivace
II. Largo Ma Non Tanto
III. Allegro

Tracks:

Rhapsody No. 2 (Lassu [Moderato] - Friss [Allegro Moderato])
I. Allegro Non Troppo
II. Andante Tranquillo
III. Allegro Molto
I. Andante
I. Allegretto (Scherzando)
II. Allegro
II. Adagio

Tracks:

Romance No. 1 In G Major
I. Allegro Ma Non Troppo (Cadenza: Kreisler)
II. Larghetto
III. Rondo (Allegro) (Cadenza: Kreisler)
I. Allegro Moderato
II. Adagio
III. Finale (Allegro Energico)

Tracks:

Romance No. 2 In F Major, Op. 50
I. Allegro Non Troppo (Cadenza: Kreisler)
II. Adagio
III. Allegro Giocoso, Ma Non Troppo Vivace - Poco Piu Presto
I. Allegro Molto Appassionato
II. Andante
III. Allegretto Non Troppo - Allegro Molto Vivace

Tracks:

I. Allegro
II. Andante
III. Allegro Molto
I. Andante Tranquillo
II. Presto Capriccioso Alla Napolitana & Trio (Canzonetta)
III. Vivace

Tracks:

I. Allegro Moderato (Cadenza: Menuhin)
II. Adagio Molto
III. Finale (Presto) (Cadenza: Menuhin)
I. Allegro
II. Andante Cantabile
III. Rondo (Andante Grazioso - Allegro Ma Non Troppo)
I. Allegro Maestoso
II. Andante
III. Presto

Tracks:

I. Allegro Non Troppo
II. Scherzando (Allegro Molto)
III. Intermezzo (Allegretto Non Troppo)
IV. Andante
V. Rondo (Allegro)
I. Allegro Non Troppo
II. Andantino Quasi Allegretto
III. Molto Moderato E Maestoso - Allegro Non Troppo
Introduction & Rondo Capriccioso, Op. 28
Havanaise, Op. 83

Tracks:

I. Allegro Maestoso (Cadenza: Emile Sauret)
II. Adagio Espressivo
III. Rondo (Allegro Spiritoso)
I. Andante - Moderato - Cadenza
II. Adagio Religioso
III. Scherzo (Vivace) & Trio
IV. Finale (Allegro)
I. Allegro Non Troppo
II. Cadenza
III. Adagio
IV. Allegro Con Fuoco

Tracks:

Serenade Melancolique
I. Allegro Moderato
II. Adagio Di Molto
III. Allegro Ma Non Tanto
I. Praeludium (Largo)
I. Allegro Cavalleresco
II. Intermezzo (Poco Adagio)
II. Rondo (Allegretto Scherzando)

Tracks:

I. Allegro
II. Largo
III. Allegro
I. Allegro Non Molto
II. Adagio
III. Presto
I. Allegro
II. Adagio
III. Allegro
I. Allegro Non Molto
II. Largo
III. Allegro
I. Vivace - Allegro - Adagio - Vivace - Allegro - Largo Andante
II. Allegro
III. Grave - Andante Largo - Allegro
Fantasia Concertante On A Theme Of Corelli

Customer Reviews:

Mostly Magnificent Menuhin, with a Few Reservations.......2004-01-06

The recent trend toward classical box sets focusing on the performer instead of the composer (see my reviews of the various DG/Decca "Original Masters" sets) continues with EMI's new "Yehudi Menuhin - The Violinist." Sure EMI's past sets have showcased individual performances by Samson Francois, Eugen Jochum and Rudolf Kempe to name a few, but it was always under the heading of a given composer's works, and in the cases mentioned above, to Chopin's piano pieces, Bruckner's Symphonies and Strauss' Orchestral Works respectively. Therefore, this Menuhin collection is the first of EMI's "Budget Box Sets" to showcase a performer playing the works of a variety of composers.

As Menuhin was an EMI recording artist for an incredible 68 years (1931-99), his performances for the label number in the hundreds. With so much music from which to choose, this 10-disc set aims "to highlight some of those alternative versions, including recordings that have not been easily available since the days of LP and others that have never previously appeared on CD." Therefore, the obvious mainstream, easily attainable recordings are omitted here -- for example, the Beethoven/Mendelssohn VCs with Furtwangler, the Elgar VC with the composer conducting, and the Bruch/Mendelssohn VCs with Susskind and Kurtz.

However, a lot of this material has been on disc before on titles which the serious collector most likely already owns. Most of the Bach is currently available as part of the Bach "Budget Box Series" title. The Bruch, Mendelssohn, Brahms and Vivaldi VCs were all available in the now out-of-print 2CD EMI Seraphim series. The Elgar and the Walton are still available in the "British Composers" series. And perhaps most annoyingly, the previously unpublished Beethoven VC and Tchaikovsky "Serenade melancolique" (available as a single disc), and the Beethoven Romance No. 2 (available on an EMI Encore title) were both reissued just a few months back.

But let's focus on the positive, which are the other rare performances, the most significant being the never before reissued 1954 performance of Mozart's Violin Concerto No. 4 with John Pritchard and the Philharmonia. Other elusive recordings include Viuextemps and Paganini VCs with Fistoulari, Lalo and Saint-Saens works with Goossens, and excellent Berg and Bartok accounts with Boulez. Though I'm delighted at their inclusion, of lesser importance is a 1965 Bartok VC No. 2 with Dorati -- his mono EMI with Furtwangler and an earlier account with Dorati on Mercury Living Presence are far superior. Also, neither the Sibelius (Boult, 1955) nor Nielsen (Woldike, 1952) Concertos are truly Menuhin's cups of tea.

My last complaint has to do with the packaging. I know I'm being rather trite but it seems that EMI has taken the "slim" out of slim, paper-sleeved box sets with their latest batch of releases. Both this title and the new box of Liszt Orchestral Works by Masur are noticeably thicker than previous EMI sets featuring a similar number of discs. A minor point, but us serious classical collectors need every centimeter of space on our increasingly crowded CD shelves, not to mention the amount of wasted packaging.

Overall though, despite the fact that "Yehudi Menuhin - The Violinist" is not as essential a reissue as its counterparts in the "Original Masters" series, it is a delightful set that most collectors will thoroughly enjoy.

Average customer rating:

this version is quite good
Very good performances that just don't catch fire
A Fine Musical Partnership Falls Short
Never quite catches on fire
What a let down

Beethoven: The 5 Piano Concertos

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Beethoven: Complete Symphonies; Sir Simon Rattle/Vienna Philharmonic
Beethoven: Complete Piano Sonatas
Brahms: Piano Concerto No. 2
Beethoven: Complete Works for Piano & Cello
Beethoven: Fidelio (complete opera)

ASIN: B00000IIX1
Release Date: 1999-04-06

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. 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: 6. Rondo: Vivace

Tracks:

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
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

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 ma non troppo

Amazon.com essential recording

Though some musicians rerecord the same repertoire, refining the same concept over time, Alfred Brendel's Beethoven concertos change significantly with every go-around. One of the defining influences in this latest go-around is conductor Simon Rattle. He's one of the stronger minded and truly collaborative conductors that Brendel has ever had, and his bent toward historically informed performance inspires the pianist to a radical reevaluation, resulting in interpretations that achieve a new level of cogency over his previous take. Phrases have an even greater sense of purpose and direction than ever before, forming tiny, mosaic-like entities within the music, often accompanied by something rarely heard from Brendel: rubato. At his considerable best, Brendel's playing has a great sense of inevitability amid the surprises that always come with a great musical mind approaching the music afresh. The only letdown here is the "Emperor" concerto. Although excellent, the reading is just a tad conventional. If you'd like to delve deeper into Beethoven's concertos, you'll enjoy Leon Plantinga's thorough study of all the composer's essays in the genre. --David Patrick Stearns

Customer Reviews:

this version is quite good.......2004-02-10

I think Brendel's Beethoven's piano sonatas are not so good. too cold,too light and not quite logical.
But here when he play the concertos with Rattel, all the things have changed, with the help of Rattel, Brendel has made a quite good concertos, quite natural.

Very good performances that just don't catch fire.......2001-09-23

Alfred Brendel has recorded Beethoven's piano concertos numerous times, each time with successful results, so it might be a question to many why he did it again. Look at his co-performers. The Vienna Philharmonic, one of the great Beethoven orchestras, and conductor Simon Rattle, possibly the most desired conductor in the world today. While just the names of this combination is enough to send tingles of euphoria up the spines of true Beethoven fans, this latest take on the 5 concerti simply doesn't have the spark and vigor of Beethoven's Chicago/Levine recording of '83. It's true, Alfred Brendel has refined the concept of Beethoven's concerti to a virtual science, and over the years has taken the position as probably the premier interpreter of the great composer's piano music. And as usual, Brendel's playing captures the thoughtfulness and sensitivity that so few pianists have matched in Beethoven concerti recording history. They don't manage to convey the exhilleration and fire though that his live Chicago recordings though, and the first concerto lacks the youthfulness and vigor that is usually associated with Brendel. On the Vienna Philharmonic though, this is absolutely not the case. The playing throughout is perfunctory and cold, and while marvelously accurate, detailed and crisp, is perhaps, bloodless. You can almost see this orchestra of great virtuosos playing while thinking "God, we have to record this again?"(for a great orchestra, check out the Staaskapelle Dresden in the Arrau/Colin Davis recording). Simon Rattle does a decent job, but some of the little things he does make no sense at all. For example: in the finale of the 1st concerto, the violin articulation is bland and uninsired, and the soaring melodies in the 1st movement of the Emperor are downplayed and seem strangely compressed (perhaps this has to do with the recording). The third concerto though is excellent, and the mystical quality of the third movement is done tremendously. Brendel and Rattle are clearly on the same page throughout all the concerti, and its obvious a great deal of work and collaborative studying of Beethoven's scores went into these performances. Though these recordings are quite good, but just don't seem to catch fire, they are still recommended, especially for Alfred Brendel fans.

A Fine Musical Partnership Falls Short.......2001-07-28

Without a doubt, in Simon Rattle, Alfred Brendel found his most engaging, truly colllaborative, partner in his latest - and probably last - traversal of Beethoven's piano concerto cycle. However, the results fall far short of miraculous. Most of the playing is technically perfect, but lacks the passion I've heard from the likes of Kempff, Arrau and Kovacevich. Brendel's best performed piano concerto is the Second (Not surprising since this is the Beethoven concerto which is closest stylistically to Mozart's - and Brendel is noted as a first rate interpreter of Mozart's piano music.); the weakest are the First and Fifth. Much to my amazement I expected better from Brendel since I have enjoyed his previous accounts of the 5th "Emperor" Concerto with Haitink conducting the London Philharmonic and Levine conducted the Chicago Symphony, yet his latest version sounds rather lame by comparison. As a conductor, Rattle seems more engaged than either Haitink or Levine was with Beethoven's scores, and the Vienna Philharmonic Orchestra's performances are absolutely first rate (However, the sound quality isn't as good as what you'd expect from the latest generation digital recording.). Those wishing to hear exceptional performances of all of Beethoven's piano concerti played by one soloist have only six or seven alternatives to consider: Arrau as soloist with Haitink conducting the Concertgebouw Orchestra, or Arrau's last traversal with Davis conducting the Dresden Staatskapelle (Of the two, I'd give the edge to the Davis/Dresden Staatskapelle cycle.), Kovacevich and Davis conducting the BBC Symphony and London Symphony orchestras, and Kempff with Leitner conducting the Berlin Philharmonic. As a possible fifth choice, I would also strongly endorse Ashkenazy as soloist with Solti conducting the Chicago Symphony. Most of these recordings should still be available on the Philips, Deutsche Grammophon and Decca labels. The finest recorded versions of the Beethoven piano concerto cycle are from Sony and Teldec, with Haitink conducting both versions. Either one is as fine as the others I mentioned; the Sony cycle has Perahia as soloist accompanied by the Concertgebouw Orchestra, while the Teldec cycle has Schiff accompanied by the Dresden Staatskapelle.

Never quite catches on fire.......2001-06-21

I was tremendously excited when I heard this set, recorded live, was in the pipeline, but actually listening to it left me somewhat disappointed. On paper, the lineup looks just about perfect: a great orchestra, one of the world's most exciting conductors, and *the* best Beethoven pianist alive. Yet the combination never quite catches fire like it's always promising to. The fact is, Rattle -- whose deeply probing musical mind has made many an old warhorse into a fresh new stallion -- doesn't seem quite at home in the Beethoven concertos. Brendel -- whose intelligence, virtuosity and mordant appreciation of wit eminently suits him to old Ludwig -- plays wonderfully, but in the end his earlier (studio) recordings of the works with Haitink are even finer and I'd recommend them over this newer set. This is surely a complete cycle of the piano concertos that has much fine playing and is extremely listenable. Perhaps it's unfair to expect more than that -- but I was.

What a let down.......2001-04-09

I think I might be better off with Brendel's first try on Vox, scrappy orchestras, sound and all.

Beethoven's music is miraculous--especially the piano concerti. There is a lot of magic to mine in the 4th, melodies and majesty in the 5th, charm in 1 (LvB charming??), etc.

What do I have here: Rattle and the VPO and Brendel. What should have been a dream version is marked by not that great sound for something recorded in the easy venues of the VPO, pedestrian conducting (AAACK! Rattle pedestrian? What's with THAT?), and piano playing that is fully competent, with some nice touches, but lacks total freshness. That also describes the VPO's contribution. Perfunctory. Give me scrappy playing an poor sound any day if you can play it with freshness. Delight. SOMETHING.

How frustrating. I still don't have THE set of LvB piano concerti. Ashkenazy with Solti and Chicago (NOT Cleveland. What a bore that mess was) is closest, although I'm still not in love with the engineering (seems chilly, and sometimes downright harsh). At least in that set, you have the fire of Solti to goose Ashkenazy.

Tracks:

Concerto No. 1 For Piano & Orchestra In C Major, Op. 15: I - Allegro con brio
Concerto No. 1 For Piano & Orchestra In C Major, Op. 15: II - Largo
Concerto No. 1 For Piano & Orchestra In C Major, Op. 15: III - Rondo: Allegro scherzando
Concerto No. 2 In B - Flat Major For Piano & Orchestra, Op. 19: I - Allegro con brio
Concerto No. 2 In B - Flat Major For Piano & Orchestra, Op. 19: II - Adagio
Concerto No. 2 In B - Flat Major For Piano & Orchestra, Op. 19: III - Rondo: Molto allegro

Tracks:

Concerto No. 3 In C Minor For Piano & Orchestra, Op. 37: I - Allegro con brio
Concerto No. 3 In C Minor For Piano & Orchestra, Op. 37: II - Largo
Concerto No. 3 In C Minor For Piano & Orchestra, Op. 37: III - Rondo: Allegro
Concerto No. 4 In G Major For Piano & Orchestra, No. 58: I - Allegro moderato
Concerto No. 4 In G Major For Piano & Orchestra, No. 58: II - Andante con moto
Concerto No. 4 In G Major For Piano & Orchestra, No. 58: III - Rondo: Vivace

Tracks:

Concerto No. 5 In E - Flat Major For Piano & Orchestra, Op. 73: I - Allegro
Concerto No. 5 In E - Flat Major For Piano & Orchestra, Op. 73: II - Adagio un poco moto
Concerto No. 5 In E - Flat Major For Piano & Orchestra, Op. 73: III - Rondo: Allegro
Concerto No. 25 In C Major For Piano & Orchestra, D. 503: I - Allegro maestoso (Cadenza: Eugene Istomin)
Concerto No. 25 In C Major For Piano & Orchestra, D. 503: II - Andante
Concerto No. 25 In C Major For Piano & Orchestra, D. 503: III - Allegretto

Customer Reviews:

The young Fleisher in dazzling form.......2007-05-09

Sony has been eprverse with this classic set of Beethoven piano concertos, now over forty years old. It has never let it out of its sight but has never given the cycle the remastering it deserves. Here the sonics are better than the hissy, shallow original LPs form Epic, but at long last Sony has upgraded Concertos 3 and 4 to best sound in the newest Great Performances series. The Emperor desperately needs the same treatment but hasn't got it yet. A word of caution: don't bother sampling the dozens of recouplings that the Fleisher-Szell readings have gone through. None of them is any better than what we get here, and quite a few are worse.

Instead of adding the Triple Concerto, the last CD is filled out with a masterful performance of the Mozart C major K. 503 concerto. Szell's quicksilver Mozartean style is also present in the early Beethoven. He and Fleisher are out to dazzle us with rapid passagework and to make the music zip along in constant high spirits. Their approach is extremely successful in Concerto 1 and 2, perhaps less so in the later works where more heroism and variety are called for.

To most listeners, however, that will seem like a churlish quibble. These are adored recordings that some of us have lived with since we ere kids. As a pupil of Schnabel, Fleisher had much more depth than he displays here; listen to his latest recordings and you will hear what's missing. Yet on the whole no complete Beethoven cycle has ever been better, or even come close to the high polish and technique of Fleisher-Szell. Now let's get the updated sound that it richly deserves.

Definitive.......2005-03-17

Leon Fleisher is an incredible pianist, and I believe he is THE most underrated pianist of the 20th (and 21st) century. One must realize that he is a student of a student of a student of a student of BEETHOVEN HIMSELF! He is also in a descendent line of students of Liszt and Czerny! This man is a living legend. Unfortunately, the set with the triple concerto also included has gone out of print, so this is now the one to get. Needless to say, the performances are phenomenal.

Great Performances.......2001-01-19

This is an outstanding recording. Leon Fleischer and George Szell are a match made in heaven. The standouts in this collection are the Beethoven 4th and the Mozart 25th. George Szell was one of the absolute best conductors of concerti. The musicality and ensemble playing are flawless. The recording of the Mozart 25th is the best I've ever heard. Don't overlook one of Mozart's later masterpieces played so flawlessly. This particular work comes off best with a large modern orchestra,like the CSO, as opposed to a smaller ensemble. Great performances!

Fleisher-Szell=Poise & Power.......1998-09-11

In an interview,Leon Fleisher said that he had been in awe of George Szell from an early age-thanks to a recording of the Brahms D-minor concerto that his parents had given him featuring his future piano teacher (Artur Schnabel!) and Szell conducting. Many years later Fleisher himself would make a series of records with Szell and the Cleveland orchestra in music ranging from Mozart and Beethoven to Grieg and Rachmaninoff. Along with their sublime set of the two Brahms concerti(also now available)this set remains a classic in the anals of recording for their forward impetus,sweep,power and poetry.Szell never just supports his soloist,but offers instead an ongoing dialogue between pianist and orchestra.Fleisher plays with all the fire and poetry that hallmarked his famous teacher,and with technical aplomb.The orchestra was at the top of their form-in a word,magnificent! The piano sound is a little hard in places,but the balance is fine. This set is a must for every Beethoven lover,it will never be bettered.

Fleisher-Szell=Poise & Power.......1998-09-11

Average customer rating:

Good old Serkin and confident Ozawa

Beethoven: The Five Piano Concertos
Seiji Ozawa , Ludwig van Beethoven , Boston Symphony Orchestra , and Rudolf Serkin
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Beethoven: Piano Concertos Nos. 3 & 5 "Emperor"
Beethoven: The 5 Piano Concertos

ASIN: B000003CSQ
Release Date: 1990-10-25

Tracks:

Allegro Con Brio
Largo
Rondo: Allegro Scherzando
Allegro Con Brio
Adagio
Rondo: Molto Allegro

Tracks:

Allegro Con Brio
Largo
Rondo: Allegro
Allegro Moderato
Andante Con Moto
Rondo: Vivace

Tracks:

Allegro
Adagio Un Poco Mosso
Rondo: Allegro

Customer Reviews:

Good old Serkin and confident Ozawa.......1999-12-21

The other day I came across this set and thougt: why not add yet another set of the Beethoven's to my collection. And this came out to be a good move. Serkin playes at a rather slow tempo at some points but irresistably lyrikal. His playing is full of thougt and the clearness in the sound is brilliant. I knew Serkin's Beethoven before but Ozawa not as well. Ozawa is truly a great conductor although I find both Abbado and Klemperer more Beethovenian in these works. The gratest thing about this set is Serkin's own style of phrasing. You'll truly discover something new in these works by hearing them performed by the good old Serkin.

Music Review:

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