The Gulda is a desert island collection for me. I imprinted on it when I heard it and it’s always been my favorite. I’ve gifted it to a few people over the years.
For Beethoven's anniversary year I've been listening through all of the sonatas, one by one, in the company of a clutch of pianists. I chose Kempff (DG, mono), Solomon (Testament), Gilels (DG, nearly complete), Richter (patched together), Schiff (ECM), and Levit (Sony). I thought my favourite would be Kempff, but much to my surprise the one floating to the top is ... Schiff! He's a wonderful musician, of course, but I also really like the instrument he plays. I've never heard Arrau's Beethoven, and I'm going to remedy that. Thanks for another great overview.
My three favorites: • Friedrich Gulda: Polished, alert, and imaginative. He shows how well Beethoven’s sonatas stand on their own, with scarcely any of the Beethoven style of playing. One commentator wrote that Gulda plays as though he’s never heard of Beethoven. That’s meant as a compliment, one with which I agree. • Claude Frank: It’s sometimes whispered that Frank is a tad sloppy, but don’t let that put you off his stellar Beethoven. Here, Frank is every bit as finger perfect as more celebrated names, and he adds a flair and obvious love for the music that shines throughout the entire set. • David Allen Wehr: It’s an injustice that Wehr’s name isn’t on a short list of the best Beethoven interpreters. Don’t let his relative obscurity fool you. This is great playing that meets the music at its own rarified level.
My first LP was Serkin's Appassionata. That was mid fifties and I was totally entranced. I still remember that wonderful incredibly well stacked record shop in Düsseldorf. They loved their business and their klients.
Whoa, I gotta listen to that last one! You're right about Kempff, he got me totally in love with these sonatas for his sheer sobriety, spontaneity and sincere warmth. He sounds like a happy man just doing what he loves while evoking every struggle he knew existed with an inexhaustible hope shining discreetly behind the tough surface of it all. My favorites are his mono cycle (which in fact I find not only preferable regarding execution but also sonically much more amiable than the stereo one, because of a less metallic sound given to the instrument) and the Orfeo Gulda. That one has all the directness and assertiveness I like in LvB (more than Kempff brings) without losing sight of the melodic currents or the lyrical and mysterious side (which Kempff translates in a mesmerizing way, better than anyone on earth, dead or alive). I just have to add this: PLEEEASE makw those videos with Jed Distler come true, I have enormous respect and admiration for his wonderful reviews and would love if he also joined this little corner of TH-cam which has become a daily ritual of musical enjoyment for me. Thanks to you, of course!
Surprised that you didn't mention Schiff (ECM). At risk of letting my "crazy piano person" shine through, his approach (to Beethoven and other music as well) is introspective and painstakingly precise, which works wonders in the final few sonatas. I'm familiar with Levit's cycle; I'll have to listen to Arrau's. Thank you as always for a wonderful overview of most of the recordings out there.
Almost forgot: Korstick's use of contrast is delightful, especially in the dramatic middle and beautiful late sonatas. His Liszt Annees de Pelerinage also benefits from this.
Andras Schiff totally butchered Sonata No 7. His appoggiaturas in the first movement and obsessive defense of that weirdness totally turned me off. Many issue with other sonatas too.
I love Serkin and always have. I saw him in person twice in Los Angeles - once in recital and the other performing Beethoven's 4th concerto - my favorite. It was performed with Giulini and the L.A. Phil. Serkin was a wonderful musician whose loyalty was to the music.
It warms my heart to know that Yves Nat's survey is mentioned in the comments. It was the first one I heard, and while it didn't "imprint" on me, it still to this day seems vital, energetic and modern in much the same way that Gulda's does. If any of you get the chance, I suggest you give it a try.
I also like Arrau's performances especially the Moonlight Sonata. The first movement is played on the slower side but tenderly and with well done phrasing, One of the most memorable performances is Glenn Gould's avant guard performance of the Appassionata Sonata (which perportedly he did not like) where he plays the first two movements at half the tempo speed and then completes the third movement at the usual but somewhat briskier tempo. Very interesting rendition that takes some getting used to.
Dave - greetings. I too love both Kempff (x 2) and Arrau. We both know that it is not finished but Gilels commands attention - and I frequently turn to Backhaus' Decca survey for sonatas such as the Tempest which he plays so magisterially. Best wishes, B
I've been listening to the Gulda cycle . I always though he's a superb pianists but I think I underestimated him. A fabulous technique, unfailingly beautiful tone, sensational sense of pulse and no lack of feeling like he's giving a performance as opposed to dutifully cataloguing for posterity. He's speedy too, not a slow coach and dives Glenn Gould a run for his money in the wackiness of op 10 or 31. I am saving the last 5 sonaras for when I am in the mood.
Thank you so much for creating this channel - it has been such a phenomenal resource for me so far, and I’ve only just scratched the surface. Your love for this music shines through in every video and it is infectious! :)
I can only agree on Annie Fischer's cycle. This is my number one. Then Emil Gilels ( incomplete) and Andràs Schiff on ECM. Thank you for presenting us Igor Levin.
It was Arrau that made me love Beethoven Sonatas. And along with those, I certainly cannot disagree with Igor Levit. But I must add another vote for Kovacevich (especially the late sonatas). I really cherish his cycle. Gilels has some tremendous recording too -- and some the simply don't connect with me. But I also think that Jonathan Biss' cycle is very fine. But thanks so much for the rundown and sharing your thoughts. It's ALWAYS a great pleasure and an education to hear what you have to say.
Totally agree with all your choices. I grew up on Serkin and Arrau, came to love Kempff a bit later, and have in recent years discovered Annie Fischer, Gulda and Brautigam's cycles. I haven't heard a note of Levit, but given how much we agree on the others, I think I'd better get my credit card out! Please keep up this wonderful series of videos!
I have a special affection for Alfred Brendel's first traversal on Vox. My father had the complete set on the Murray Hill issue. learned the works from this set. t was a 21 record set with booklet. In my opinion, he displayed such an affectionate freshness, and insight that is missing from his later remakes, but his third attempt was very good. Much better than his second remake on Philips which I don't enjoy at all.
I had an old Turnabout Vox version of Brendel's Apassionata, that really held my attention for decades, now I have the Levit cycle to make my way through. Can't believe he didn't rate Brendel's cycle.
Well thanks for turning me on to Igor Levit. I have heard of him of course but not actually heard him play. Just listened to the Appassionata by Levit and wow. He brings the intensity, the passion, the dynamics, I think Beethoven would have been thrilled to hear it and would have said, "Where the hell did you get that Piano?" I have an image in my head of Beethoven, his hair thick and stick straight up off his head as if electrified, his face full of intensity and frustration and I think Levit just realized what Beethoven was tormented by - at least some of it anyway. My three cents!
Got all those mentioned. Like all those mentioned. Especially the Levit. It never gets mentioned but I also really enjoy Buchbinder's 1st cycle with all the extra Beethoven piano works he recorded for Teldec. Goode & Kovacevich both have some great moments too. Everyone who truly loves and enjoys listening to different interpretations needs at least a dozen cycles of the Beethoven Sonatas (and Symphonies for that matter). So many different ways to approach them and so much joy to be found in the exploration.
I grew up with a few of the CDs from the Buchbinder cycle and these recordings were instrumental in motivating me to practice the piano for hours a day.
Thanks for the review. i did a quick listen to Brautigam, i liked it and will get the set. (for reference my current fav is Pollini. I've loved Kempff and Arrau before and i may check them out again too)
For me it is Friedrich Gulda with his 3 different complete recordings, after him comes now Rudolf Buchbinder. From older recordings I like Annie Fischer, W. Backhaus. (I like what Mr. Hurwitz says about him - it is pretty accurate!)
Currently working my way through the Levit cycle, and blown away by it. It's really got everything. So far (I'm still in the earlier sonatas) I'm particularly appreciating the drama of his interpretation, and the power of it. He's really unafraid to give you a real jolt of explosiveness, and it feels so right to me. Wonderful achievement, and I can't wait to get to the later ones, now knowing that the whole set will be consistent.
You may not be opposed to Beethoven on a quality fortepiano, but I certainly am. Beethoven was unambiguous throughout his life. He was always looking for the latest and greatest in piano technology. As the instruments became more heavily strung with iron harps and increased range, he took full advantage of the advancements in his latest works. The first note below F1 occurs in Op. 101 I believe, with notes ranging down to C1 over the last five sonatas. Likewise, there are passages from the middle period that are obviously artificially limited to C7. One notable example is the 4th Piano Concerto where Beethoven repeatedly bangs his head at that C7 and has to modify parallel passages in the recapitulation as compared to the exposition. Mid 20th C. pianists had little concern extending these passages --- before the chill of historically-informed performance practice. I don't presume to speak for Beethoven on much. If he came back from the dead (fingers crossed on this one) nobody has any idea what he'd have to say on a lot of things. But in terms of pianos, the evidence is stark: he'd demand a modern piano. The only real question is whether he'd accept the dominance of the Steinway Model D, or go with something different like a Boesendorfer Imperial or maybe a Fazioli. He was very partial to light Viennese actions even in his old age. I'm just paraphrasing here, but I remember a quote from Beethoven after he completed his Op. 111 Sonata and moved on to other forms. He said that the piano remains an inferior instrument. Take that perspective and run with it.
Hi Dave, thank you very much for your videos - I enjoy them tremendously! I`m especially glad you mentioned Ronald Brautigam´s cycle (no, I am not his mother!). To put the record straight (if nobody has done so before): The Brautigam-cycle was recorded on THREE fortepianos, each built after "modern" instruments of Beethoven´s life, and they represent the developement of piano making during Beethoven´s life. This might have been done to have "authenticity", that you may not care much about, but these recordings do not only show Brautigams musicality, but also give an idea, why Beethoven wrote certain things the way he did. We already got so used of some weird sounding Beethoven sections on modern pianos. But after Brautigam, one might want to think over the opening of the Waldstein Sonata for example. Or the realtionship of trills to all the rest of the music. Also a reason why this Beethoven-box is a must-have - in my humble opinion.
Thank you for adding these insights. I'm sure some viewers will find them valuable, and as you say, this isn't an area that much interests me so I'm happy to have your comments.
@@DavesClassicalGuide You're not only a insightful and entertaining musician and music critic, but on top of it a fine diplomat. Thank you - for all of that!
The new Giltburg cycle is amazing. Brilliant acoustics and recording, and Giltburg's skills are absolutely top notch. He manages to achieve a fine balance between precision, tenderness and warmth. Reminds me of my old favourite Gulda, but with amazing modern sound and recording. Worth checking out!
I'm generally the type to always be in search of new music so it's rare that I continually revisit music I've heard, but the Beethoven Piano Sonatas are among the few "cycles" I never seem to tire of revisiting. Arrau's was the first set I heard when I was in my early teens. It really left an impression as for a long time I heard most all other interpretations as shallow and light. It took finally hearing Kempff's first set that I started to appreciate Beethoven played with more subtlety and nuance. Since then I discovered so many great interpretations that continued to provide new insights into these endlessly multifaceted masterpieces; two I'm surprised not to see mentioned were Gilels (sadly incomplete) and Pollini. Though he never even attempted an official cycle I also highly value Richter's approach to Beethoven and he has several of my references. I'll have to check out the Levit and Gulda.
A Beethoven sonata cycle that I think deserves a second listen is that of Yves Nat on EMI. Nat, like Cortot, Casadesus, and most importantly Edouard Risler, were students of Louis Diemer. All of the Diemer students are highly individualistic interpreters. Risler performed the first complete Beethoven cycle of the 20th century in 1905. Nat's interpreetations are highly passionate while being highly intellectual at the same time. His tempo choices are always informed by his detailed care for inner voices and sensitivity to counterpoint. His piano tone is among the most beautiful ever recorded. He is a subtle but highly incisive and characterful interpreter. The later sonatas don't have quite the spiritual aura of a Serkin or Solomon, but they exude a complete understanding of the import and architecture of the pieces, especially op. 109 and 110. It's a mono recording, though.
Nat's is certainly one of my favorite cycles but I sometimes detest the early 50s French EMI mono sound quality, which had the acoustic of a cardboard box covered with a blanket.
I grew up listening to Schnabel's second volume of Beethoven sonatas. I never heard a version of the E-flat Major Sonata quasi una fantasia that matched his until I heard Richard Goode's version. So I bought his set after acquiring the Arrau set. I grew up listening to the Serkin recordings and still love them dearly, especially his Pathetique and A Therese sonatas. I also like Brendel, especially his Diabelli Variations.
Bravo! Whilst this is a task akin with trying to empty the sea with a leaky spoon, it's a great overview! I grew up with the Barenboim EMI set; that always struck me a bit dour in places ( I know Beethoven is serious but not always humourless) and indifferently transferred to CD. Definitely give a thumbs up to Levit, particularly the late sonatas! Cheers
I think my favourite is No.27…for its simplicity and nobility. The 32 piano sonatas I think represent the single greatest single body of work in the 19th century western canon.
Glad to hear the classic Rudolf Serkin recordings being mentioned. His son, the late Peter Serkin, also recorded an excellent set of the late sonatas albeit on fortepiano.
I know this post has been out for a number of months, and I watched it before, but I wanted to again. I liked your comment: "...they believe deeply in the soloists that they love and that means they have to hate all the other ones..." That made me laugh.
I’ve inherited five complete Beethoven cycles: Paul Lewis, Emil Gilels, Boris Giltburg, Bernard Roberts, and Solomon. None of which you mention. I haven’t yet investigated them, because there are lots of individual sonatas by other pianists which I’ve been playing. I remember Oscar saying that he couldn’t get into one of the concerts playing at the South Bank in London, so went to hear this virtually unknown pianist Bernard Roberts and was incredibly impressed. Serendipity can be so useful! I do value these talks of yours. Music appreciation at its best.
Among the young pianists, Stewart Goodyear brings incredible technique and velocity to his complete Beethoven Piano Sonata recordings. He actually plays the "Hammerklavier" at Beethoven's indicated metronome indications, making it sound very musical all the while.
No living pianist gets me closer to the spirit of Beethoven, on recording or in concert, than Richard Goode. But I like your choices, too (I'm making my way through Levit).
While I agree that her set is superb, I can't say that I agree that Annie Fischer's set is a sleeper, as I know many pianophiles who love it. I've loved it myself for many years. Her power, passion and intensity suits the music perfectly. I have heard dozens of sets and to me, hers is the very best. For me, Gulda's Amadeo set on Brilliant Classics is tied with Lucchesini's live set on Stradivarius as my second favorite. Gulda's set is certainly more clean shaven, more modern than Annie's. And his technique is absolutely stunning.
One of my favorites: Eric Heidsieck. His Beethoven comes from Mozart. Maybe the late sonatas are played a little bit too lightweight, but I like his approach much.
The best recording of Beethoven's late sonatas that I've listened to is Peter Serkin's. It gives me everything I need emotionally. One can always be on the look for other alternatives, though. I will check the Brautigam, whose Haydn sonatas are indeed magnificent. Funnily enough, once having listened to fortepiano, I don't wish to go back to modern piano.
Hi, this video recently appeared in my feed. I subscribe to several classical channels on YT, but yours is quite unique, informative, light-hearted and fun. I like the emphasis on artist 'survey, retrospective, and appreciation'. I like your musical knowledge and the fact that you're sharing it here. For myself, I enjoy having more than 'one' artist's performance of a composer's work, so your insights are really helpful in assembling a collection. Liked & subscribed. Will check out your other posts.
Welcome aboard! Thank you. For a long time when people said that I appeared in their "feed" I thought they were talking about animal husbandry and I couldn't imagine what I was doing in a bag of chicken chow.
I lived for many years with only ONE LP of LvB sonatas, and that was Serkin’s trio of the famous named sonatas on Columbia. I was very happy with it and I still think it’s one of the best single piano disks around. Well, I now have several complete sets, including Schnabel on Dante Lys, which strikes me as a happy medium between the bright, noisy Pearl, and the overprocessed and dull sounding EMI. That said, you are entirely correct in that more modern sets give more realistic and enjoyable piano sound.
Thanks for mentioning the Igor Levit cycle. His tone and clarity of play are beautiful. Sets that I always go back to are the ones by Claude Frank and Wilhelm Kempff. Claude Frank is not so well known may be, but his Beethoven playing is excellent, and the cd sound is very good. For historic recordings Solomon is wonderful (but probably not a complete set).
My first pick for a whole set is Barenboim first one (EMI) or the third one (DECCA). The DG one is also good but somehow never convinced me that much, and the fourth (the COVID one) was just completely unnecessary in my opinion. Brautigam period piano set is a blast. But this is just if we're talking about the whole thing. For individual pieces I'd sometimes pick other recordings. As an example - Rubinstein's 1976 recording of E-flat Op. 31 No. 3 is just devine
Dear David, I have been very fond of Claudio Arrau since my early youth. I had been waiting for the release of his complete recordings with Philips for many years, so that you can imagine, how happy I was when Decca finally released the fantastic box. Needless to say, I enjoy his Beethoven very much. However, some months ago I found the set of Igor Levit that my daughter got as a present as soon as the box was released. I started listening and could not stop all day. This guy has really something to say. Impressive. And the beautiful sound of the grand is well captured too. Thank you for the recommendation regarding Annie Fischer. I will have to explore!
My penny worth is (haven’t heard Levitt) Kempff probably my fall back recording. Brendel Phillips I think there is something a bit off with the CD transfers but the performances are excellent. Backhaus my favourite for many but not all the sonatas possibly a little over romantic. And I really enjoyed Jeno Jando on Naxos, which I bought piecemeal as they came out, decent sound, good steady interpretations.
The Beethoven cycle played by Alfredo Perl is also worth a listen although it is very difficult these days to still get it although it was recorded in the 1990s. Definitely one of my favorites.
Not to be crass but the soaring prices for Perl discs suggest how highly regarded he is in some (discerning) circles. I believe Perl now conducts a German chamber orchestra, which is wonderful, but his pianism is sorely missed.
@@jackatherton0111 I don't think they were printed in vast quantities in the first place, but it certainly helped that the 'pope' of German music critics, Joachim Kaiser, praised the recordings with considerable enthusiasm back in the day. That was before my time though, so I know exactly how difficult it is to get your hands on a full set of his Beethoven sonatas. I've seen him conduct once or twice, too, but I definitely prefer him as a pianist.
The Gulda set won the Deutsche Schallplattenpreis when it was first released on LP. Have had it for years, once came across the entire set in mint condition in a second hand shop in Freiburg, Germany, while on holiday there. One of the best purchases I ever made, only 25 euros. By the way, are you familiar with the sonata cycle Rudolf Buchbinder recorded for Teldec? I haven't heard the entire set but have a total of 3 CDs with recordings from this cycle and they're excellent.
In my opinion, the best Beethoven complete piano sonata cycle is by Alfred Brendel on Philips. Even if you're not a big Brendel fan (like Dave), I really recommend listening to them. His "Moonlight" and "Pathetique" surpass those of Kempff and Barenboim by a lot. Anyway, thanks for another great video, Dave! All the best.
Now your'e talking. Brendel somehow is hated because of his rather cool intelligent approach. But its not coolness I find its so much further ahead of Kempff in especially the late sonatas. I love his opus 109 and 110 the most. His 111 is way of. If there s the one who really grips the 111 its Pogorelich in his DVD recording. Also the DG is very good but the DVD tops it. No one really no one understands this piece more.. with all the other ones I constantly feel something is not right...Yes he is extremely slow compared to the others but then it gets the drama expression you need and when speed is acquired he is speedy.. The 7th Sonata I have a special recommendation that exceeds all. Its Ingrid Flitter live in Concertgebouw Amsterdam. She digd even deeper than the wonderfull Vladimir Ashkenazy. Then there is Arrau with greath warmth and sometimes un Beethoven like phrasing who is topped by John Conner on Telarc. Those performances are so rich in warmth and tenderness without being next to Beethovens style. Especially the famous pieces played very beautiful bij John O'Conner. A cycle you have to have next to Brendels. Both Brendels are beautiful and very different too. The latest is very lively very humanly breakable played and the first one is much more logical and easier approachable. I especially find his earlier Philips Hammerklavier just perfect. No one comes near but only one who tops it by far. Its the Gilels live recording on Brilliant Classics which was from an Russian recording company ..bit older somewhat metallisch recording but also great if you own a real good audio set. Than it really shines. So extremely beautiful Hammerklavier is in my top ten ever most beautiful music pieces ever.
I am intrigued by the Levit set. Was hoping Richard Goode or Peter Takacs would make an appearance on this list. Another fine video - thank you for these.
This video alone justifies why I must keep listenning you. I completly agree with everything you said. I just miss more talk about Gilels - as Serkin - it is a must among the best and thinking about incomplete cycles Solomon is amazing too (but not for this video, I agree).
Yes Solomon was one Of the Greater Beethoven Interpreters of the 20th century More so than the pianists Mentioned I think the late Walter legge would agree With me
As a piano player myself, I can say I don't know any pianist whose performances I liked throughout all of the sonatas that they've recorded. I can always tell there's always at least some of the sonatas they're not particularly fond of and don't give them the same level of preparation as they do for other sonatas. Some of the later performances of Barenboim like the Waldstein I really like. Korstick's 32, Goode's 22 even though I normally don't like Goode at all. His rubato to me tends to sound so awkward as to make him sound drunk.
my best complete beethoven sonatas is anton kuerti on analekta.....with him....i listen ....the recording is magnificent,you hear everything of the two hands....it dissects each notes,,,,,this is anytimes exicting....!( sorry my english is bad)
I have LPs on Aquitaine. Kuerti's slow movements can be very slow but he does hold them together. Somewhere in the CBC archives are his talks and performances of most or all the sonatas .
Recently purchased rather cheaply, the Claude Frank set on Victoria LPs (remember those?). Making my way through it bit by bit, and I am rather impressed.
Francis Albert You are most kindly welcome. They are new to me as well. I’d heard about them some time ago, and when I saw this nice set of RCA Victoria LPs so cheaply, I thought I would give them a try.
Gulda's set is my favorite. Wonderful interpretations in all respects. However, as you point out, he plays them very fast. They don't feel rushed but they do zip by without letting you appreciate them in some cases. I don't own Levit but I have listened to it a bit and it seems to have the same rush to it. I would like Kovocevich's much more than I do if it was better recorded.
He may seem fast, but his tempi comes from Beethovenˇs pupil Carl Czerny (who played all B´s sonatas for the composer or heard him play them). Gulda - as a born "Weaner" - respects that.
I just downloaded the Annie Fischer set. Can't go wrong for $12.49. I listened to Op. 10/2 and enjoyed it. I'm looking forward to the rest. One point about the Brautigam set: he uses the Graf copy for the Waldstein forward, but a copy of Walter & Sohn for the earlier sonatas and a copy of a Stein for the WoO material. For the record, I also have Buchbinder, Frank, Pollini and the Serkin box.. The Victrola pressings of the Frank are horrible. Warps, pre-echo, etc. CDs are better, but still don't have great sound.
The Pollini set on Deutsche Grammophon is the most satisfying, particularly in the last sonatas. As for the op. 110 and 111...unparalleled in recorded history.
Hope the Kempff fans can hear his partial 78 cycle on APR or Dante. The short sides and absence of immediate playback for the artist might suggest a lack of continuity (and that’s occasionally the case) but Kempff also seems more unbuttoned than on either of the later cycles (and the live one from Japan). Thanks as always, Dave.
I looked through my Beethoven sonatas "banker's box" and was shocked that Annie Fischer's box wasn't in there. I was sure that I had got it when it was released. I did manage to pick up her collection of about 2 cds of EMI Beethoven recordings in the Icon box, however. So much to listen to, so little time. Just ordered the Fischer Hungaraton box off of Amazon. Glad it's still out there. Incidentally, Gulda blew me away as well. His No. 25 made me sit up in my chair like I'd never heard the piece before. Amazing!
I wonder if anyone likes Jumppanen's recordings (on ONDINE). Personally I find them extremely exciting, full of energy. Not only does he have brilliant, impeccable technique, there are so many surprising yet wonderful thoughts. Just listen to the 4th movement of the First sonata...
I share youır opinion about Jumppanen, I also like his energy and unexpected things that he's doing with the sonatas, I'm afraid he's a bit overlooked by the traditionalist clan.
Levit is a superb, poised pianist and artist: I've just some difficulties at times finding him interpretatively interesting, he's always musical but rarely illuminating (a big IMHO, obviously). But it's still a great choice as a reference, maybe even more because of this "medietas" (not "mediocritas", mind you). Annie Fischer is surely special, so is Gilels (sadly not truly a complete cycle). Schnabel is musically stellar and sonically sad. You can never ever listen to too many good readings of this infinite trove of sounds and humanity.
I haven't heard the recorded cycle by Levit but have have heard him in broadcast recitals playing Beethoven and I have always found it rather brittle. I will revisit after seeing this, but I'm recently enjoying the emerging cycle by Giltburg - who is still only halfway into the cycle. Russian pianists in Beethoven are - I find - much more forceful and fascinating - eg Yudina, Gilels, Richter, Sokolov - Giltburg has the power but has a sensitive touch too. Worth a trying
David, I can't tell you how much I'm enjoying these videos. Thank you for sharing your immense wealth of knowledge - I'm falling in love with collecting and listening again. Don't stop making them! (P.S. I'm having trouble finding a "Cosi" I like....hoping to see some opera rec vids soon??)
Dave, many thanks for taking on the thankless task of tackling the ins and outs of collecting Beethoven piano sonata cycles, and for outlining some of the basic parameters involved in this pursuit. I knew this talk would be a real hoot as soon as you said that “piano people” are as crazy as “opera people.” You can say that again! The identification of Kempff and Arrau as major exemplars of two different poles of Beethoven playing/ interpretation is certainly as good a place as any to start. After that, it's anyone's guess as to where we go next. As the saying goes, There are many roads to Mecca; and as the other saying goes, All roads lead to Rome... Whenever I get a hankering to add yet another cycle to my collection, I read a gazillion reviews first... and even that doesn't necessarily set my mind on the right road. I will say that Jens Laurson's comprehensive annotated survey of complete or nearly-complete Beethoven piano sonata cycles is an invaluable resource. I once tried to compile a list of recorded cycles on my own and gave up at 40-plus before I discovered Jens's list and learned that there are well over 100 such cycles, a number that seemingly grows by the month. And “Beethoven piano people” who frequent various online forums will have come across a fellow by the name of Todd who apparently has listened to, and extensively evaluated, just about every such cycle in existence. Whew! Anyone who attempts that won't have any time to listen to Bruckner. For what it's worth, when I'm exiled to my desert island, I'll be taking Backhaus's stereo set (with his monophonic Hammerklavier) with me. But can Annie Fischer come along too? ~ John Drexel P.S. When/if I get around to writing my memoirs, I'll include a vignette about the time I was introduced, in person, backstage, to Rudolf Serkin just after he had given a recital. All I remember him saying was "Wolfgang Amadeus, Wolfgang Amadeus, Wolfgang Amadeus..."
I enjoy all the versions you mentioned, excepting Brautigan's (I am a fortepiano hater). I agree with your comments, excepting regarding Levit, in my opinion he lacks substance. If I had to choose only one it would be Annie Fisher. From the plethora of recent versions, disregarded in your survey but, for me, absolutely stunning is Fazil Say. I was surprised you did not mention any of Alfred Brendel three versions. I am a compulsive viewer of all your marvelous videos, fulls of wit and extraordinary knowledge. Thanks you very, very much.
Nice video, appreciate the range of styles here and discussion of both older/historic and newer performances. I find myself partial to Casadesus, but he did not come close to a cycle.
Schnabel and Gulda, yes (I think the contrast between these two couldn't be much greater) as well as Serkin, but what about Gilels and Backhaus? The latter is a must. No dice with Arrau (is he playing Liszt or Beethoven?) or Kempff with his pretentiously small scale interpretations.
How about Jean-Bernard Pommier? His performance of the Appassionata is outstanding; he sounds like Beethoven!! The instrument he plays sings as if it were made for that sonata!
My favorite cycle is by Vladimir Ashkenazy. I feel there is no other pianist who understands and conveys the magic of this amazing music over the entire 32 sonatas as consistently as he does.
I've always hated comparisons... so-and-so is better than so-and-so, etc. Every concert pianist is brilliant in their own right. But Ashkenazy is the best.
My favorite is the Russian style Maria Grinberg despite the bad sound . The phrasing is pretty satisfying and Russian heavy sound . As for more modern i like the exciting and maybe vulgar set of HJ Lim. And am happy you chose Levit!!!!!
Thank you for another highly informative and entertaining presentation. You are a gifted teacher! I always come away with new knowledge and an excitement about listening to new recordings -- or familiar recordings with new ears. In recent days, I have been absolutely loving the recordings by Annie Fischer and Igor Levit that you recommended. All the best!
Interesting survey, thanks! I love Levi's interpretations, but the cavernous sound bothers me. Another top-notch recent set for me is the one by Jonathan Biss.
Any opinions on either of the 2 sets by Barenboim? I have lived with the early set for 20 years. Do you all think he is worth an notable mention? I will check out the Levitt newer release, thanks.
Wow! The people you left out (Kovacevich, Goode, Brendel, et al) means the ones you chose must be remarkable. But, then, I love Arrau--especially the way he swings in the last sonata. Yep, I said swings boogie woogie style. Great review.
Great selection, I like all of these sets! What's your opinion on Buchbinder's two? I always thought they were quite similar to Brendel's approach, but to my ear more exciting.
Dave, I don't have the money or space for another complete Beethoven piano sonata cycle. However, I would like to get some Claudio Arrau recordings of some sonatas. Which recordings of which Beethoven sonatas represent Arrau at his best?
Hi, David, thanks for another great video. Kovacevich is my first choice, followed by Kempff, Brendel and Gilels. Unfortunately, the Russian pianist didn't record the whole cycle.
Dave, your own Jed Distler reviewed Stewart Goodyear's recordings of the last 5 Beethoven Sonatas. He loved Goodyear's performances but was a bit bothered by less-than-excellent recorded sound of the Marquis release. Well, it turns out that Goodyear has recorded ALL of the Beethoven sonatas and Marquis has released them. What is Mr. Distler's appraisal of Goodyear's complete Beethoven set?
It clearly stems from another period of interpretation - that makes it really interesting to me, especially for the choices that do not work as well today
What are people’s opinions on the new complete cycle by Boris Giltburg !? *I’m not very familiar with the complete Beethoven sonata cycle but Giltburg is one of my favourite pianists and I’m considering buying that box set to start me off!
I was going to suggest this for the first volume in particular. I have not heard a better set of the early period sonatas (not that I've heard nearly as many as Mr. Hurwitz). Just speculating, but I think there may be two significant reasons for this. First, Bavouzet recorded lots of Haydn sonatas before starting the Beethoven, and I think Beethoven learned more from Haydn than he would admit. Second, some pianist may regard the early sonatas as things you just need to record to have a "cycle," and don't put as much effort into developing an interpretation.
There is a fine complete set by Malcolm Bilson and his students on various fortepianoc form 1995 on Claves, quite edgy tempo-wise, fresh, full of zest and color.
In my youth I bought a double LP with Wilhelm Kempff "BEETHOVEN Die beliebtesten Sonaten" and found them pretentious and boring. Much later I enjoyed Stanley Hoogland and students' box set of Haydn sonatas so much, that I searched for some of the participants and discovered the existence of the Beethoven set on Claves and managed to locate a copy. Suddenly Beethoven sounded fun and exciting, so I have become familiar with the music and have recently started to appreciate different interpretations, but that box set sure was an eye opener!
Hi Dave, thank you so much for this wonderful and at the same time quite entertaining assessment of Beethoven's opus magnum. May I ask your opinion about Michael Korstick's much prized set? He's a very underrated guy as far as I can see. I discovered his set of 32 quite lately but I had a deep satisfaction when I began to hear them, especially his Hammerklavier.
The Ronald Brautigam recommendation is the greatest gift ever! Not only does he know how to get a great sonority out of the instrument and understand what Beethoven wrote, but he gets the fortepiano to speak the language of this music with ease. I listened to his performance of Op.31 No.3 (my second favorite Beethoven sonata), and it blew my socks off. I wish I could say I love Beethoven’s music, but I am soured by Beethoven declaration that he learned nothing from Haydn as Haydn is, by a huge margin, my favorite composer of the Viennese classical era. I have always thought Beethoven’s best works were the ones where he didn’t disguise Haydn’s influence, like this one. I sometimes pejoratively refer to Beethoven’s entire musical output as third period Hadyn. I should try to be more kind-hearted and empathetic going forward and stop doing that. I listened to some of the Igor Levin as well - also a great find. Thank you!
You're welcome. Another piece of advice, if I may:. Listen to what composers do, not to what they say. Most of them were disturbed or obnoxious or jealous or all three, and so what? Beethoven learned much from Haydn the composer, and his music shows a greater influence in the later works (as opposed to the earlier ones). After Haydn was dead, of course Beethoven had nothing to fear from the rivalry (purely on his part), and he became much more gracious and admiring, but again, it's the music that matters.
Never heard the Brautigam recording of Beethoven; have to give that a listen to. I have heard his performances of Rachmaninoff's complete Preludes; excellently done.
To me, the best sounding set of the Schnabel Beethoven sonatas was on Naxos Historical CDs. The Pearl masterings are very noisy, they literally gave me headaches. The EMI sounds like it was recorded underwater.
Just try the original RCA LM-9500 13 LP original set which include the music books of the Sonatas or the Angel GRM 4005 re-issue LPs, play it with a great mono cartridge and the sound takes a natural liveness that no CD re-issue would ever touch. The piano sounds live and real not processed.
Hi Dave, I studied electrical engineering in the 1980s with Vladimir Ashkenazy’s Beethoven Decca Pianos sonatas glued to my ears for nearly 10 years. I met him once at the Sydney Opera House (1982 maybe?) and had the poor guy sign my Decca vinyl LP complete Sonata collection. He wasn’t happy because my father had phoned him during the intermission to ask him if he would sign the albums! Anyway, he signed them and I still have them, 40 years later. Ashkenazy is therefore my ‘reference’ recording.
would have loved Hurwitz' reaction to Paul Lewis or Jonathan Biss, though the former's cycle isn't complete, I think. but a lot of listening ideas, thanks.
Great video, I think you certainly met your aim -- the survey covers a lot of cycles and is still 20 minutes long! And by the amount of famous omissions it really does show how many recordings there are of the complete Beethoven sonatas, let alone incomplete cycles and individual recordings. One quibble though, I love Annie FIscher's cycle but I think it can't be unsaid that the piano recording has a dry, brittle tone which can can sound unpleasant at times when compared to her earlier EMI recordings.
There seems to be no recording of the Diabelli Variations by Kempff or Annie Fischer. Do you know if this is really so? And, in addition, which version(s) of this masterpiece would you recommend?
Dear David, thank you for the great review, a lot of valuable recommendations to my shopping list. What do you think about Alfredo Perls cycle? And what about Barenboim's latest cycle? Kind regards
The Gulda is a desert island collection for me. I imprinted on it when I heard it and it’s always been my favorite. I’ve gifted it to a few people over the years.
For Beethoven's anniversary year I've been listening through all of the sonatas, one by one, in the company of a clutch of pianists. I chose Kempff (DG, mono), Solomon (Testament), Gilels (DG, nearly complete), Richter (patched together), Schiff (ECM), and Levit (Sony). I thought my favourite would be Kempff, but much to my surprise the one floating to the top is ... Schiff! He's a wonderful musician, of course, but I also really like the instrument he plays.
I've never heard Arrau's Beethoven, and I'm going to remedy that. Thanks for another great overview.
What about Gulda?? He is definitely No. 1!
My three favorites:
• Friedrich Gulda: Polished, alert, and imaginative. He shows how well Beethoven’s sonatas stand on their own, with scarcely any of the Beethoven style of playing. One commentator wrote that Gulda plays as though he’s never heard of Beethoven. That’s meant as a compliment, one with which I agree.
• Claude Frank: It’s sometimes whispered that Frank is a tad sloppy, but don’t let that put you off his stellar Beethoven. Here, Frank is every bit as finger perfect as more celebrated names, and he adds a flair and obvious love for the music that shines throughout the entire set.
• David Allen Wehr: It’s an injustice that Wehr’s name isn’t on a short list of the best Beethoven interpreters. Don’t let his relative obscurity fool you. This is great playing that meets the music at its own rarified level.
My first LP was Serkin's Appassionata. That was mid fifties and I was totally entranced. I still remember that wonderful incredibly well stacked record shop in Düsseldorf. They loved their business and their klients.
Whoa, I gotta listen to that last one! You're right about Kempff, he got me totally in love with these sonatas for his sheer sobriety, spontaneity and sincere warmth. He sounds like a happy man just doing what he loves while evoking every struggle he knew existed with an inexhaustible hope shining discreetly behind the tough surface of it all. My favorites are his mono cycle (which in fact I find not only preferable regarding execution but also sonically much more amiable than the stereo one, because of a less metallic sound given to the instrument) and the Orfeo Gulda. That one has all the directness and assertiveness I like in LvB (more than Kempff brings) without losing sight of the melodic currents or the lyrical and mysterious side (which Kempff translates in a mesmerizing way, better than anyone on earth, dead or alive). I just have to add this: PLEEEASE makw those videos with Jed Distler come true, I have enormous respect and admiration for his wonderful reviews and would love if he also joined this little corner of TH-cam which has become a daily ritual of musical enjoyment for me. Thanks to you, of course!
Surprised that you didn't mention Schiff (ECM). At risk of letting my "crazy piano person" shine through, his approach (to Beethoven and other music as well) is introspective and painstakingly precise, which works wonders in the final few sonatas. I'm familiar with Levit's cycle; I'll have to listen to Arrau's. Thank you as always for a wonderful overview of most of the recordings out there.
Almost forgot: Korstick's use of contrast is delightful, especially in the dramatic middle and beautiful late sonatas. His Liszt Annees de Pelerinage also benefits from this.
Andras Schiff totally butchered Sonata No 7. His appoggiaturas in the first movement and obsessive defense of that weirdness totally turned me off. Many issue with other sonatas too.
Annie Fischer - when you listen to her, it's like Beethoven himself playing, I have this feelings every-time. :)
Peter Petrovič, I enjoy that set immensely. She was a great artist.
I love Serkin and always have. I saw him in person twice in Los Angeles - once in recital and the other performing Beethoven's 4th concerto - my favorite. It was performed with Giulini and the L.A. Phil. Serkin was a wonderful musician whose loyalty was to the music.
It warms my heart to know that Yves Nat's survey is mentioned in the comments. It was the first one I heard, and while it didn't "imprint" on me, it still to this day seems vital, energetic and modern in much the same way that Gulda's does. If any of you get the chance, I suggest you give it a try.
I also like Arrau's performances especially the Moonlight Sonata. The first movement is played on the slower side but tenderly and with well done phrasing, One of the most memorable performances is Glenn Gould's avant guard performance of the Appassionata Sonata (which perportedly he did not like) where he plays the first two movements at half the tempo speed and then completes the third movement at the usual but somewhat briskier tempo. Very interesting rendition that takes some getting used to.
Dave - greetings. I too love both Kempff (x 2) and Arrau. We both know that it is not finished but Gilels commands attention - and I frequently turn to Backhaus' Decca survey for sonatas such as the Tempest which he plays so magisterially. Best wishes, B
I've been listening to the Gulda cycle . I always though he's a superb pianists but I think I underestimated him. A fabulous technique, unfailingly beautiful tone, sensational sense of pulse and no lack of feeling like he's giving a performance as opposed to dutifully cataloguing for posterity. He's speedy too, not a slow coach and dives Glenn Gould a run for his money in the wackiness of op 10 or 31. I am saving the last 5 sonaras for when I am in the mood.
Thank you so much for creating this channel - it has been such a phenomenal resource for me so far, and I’ve only just scratched the surface. Your love for this music shines through in every video and it is infectious! :)
I can only agree on Annie Fischer's cycle. This is my number one. Then Emil Gilels ( incomplete) and Andràs Schiff on ECM. Thank you for presenting us Igor Levin.
Your conclusion brought tears to my eyes. Life and art go on!
It was Arrau that made me love Beethoven Sonatas. And along with those, I certainly cannot disagree with Igor Levit. But I must add another vote for Kovacevich (especially the late sonatas). I really cherish his cycle. Gilels has some tremendous recording too -- and some the simply don't connect with me. But I also think that Jonathan Biss' cycle is very fine.
But thanks so much for the rundown and sharing your thoughts. It's ALWAYS a great pleasure and an education to hear what you have to say.
Totally agree with all your choices. I grew up on Serkin and Arrau, came to love Kempff a bit later, and have in recent years discovered Annie Fischer, Gulda and Brautigam's cycles. I haven't heard a note of Levit, but given how much we agree on the others, I think I'd better get my credit card out! Please keep up this wonderful series of videos!
Thank you!
I have a special affection for Alfred Brendel's first traversal on Vox. My father had the complete set on the Murray Hill issue. learned the works from this set. t was a 21 record set with booklet. In my opinion, he displayed such an affectionate freshness, and insight that is missing from his later remakes, but his third attempt was very good. Much better than his second remake on Philips which I don't enjoy at all.
I had an old Turnabout Vox version of Brendel's Apassionata, that really held my attention for decades, now I have the Levit cycle to make my way through. Can't believe he didn't rate Brendel's cycle.
Levit just keeps growing on me-- astounding and a heroic human being,,,
Well thanks for turning me on to Igor Levit. I have heard of him of course but not actually heard him play. Just listened to the Appassionata by Levit and wow. He brings the intensity, the passion, the dynamics, I think Beethoven would have been thrilled to hear it and would have said, "Where the hell did you get that Piano?" I have an image in my head of Beethoven, his hair thick and stick straight up off his head as if electrified, his face full of intensity and frustration and I think Levit just realized what Beethoven was tormented by - at least some of it anyway. My three cents!
Got all those mentioned. Like all those mentioned. Especially the Levit. It never gets mentioned but I also really enjoy Buchbinder's 1st cycle with all the extra Beethoven piano works he recorded for Teldec. Goode & Kovacevich both have some great moments too. Everyone who truly loves and enjoys listening to different interpretations needs at least a dozen cycles of the Beethoven Sonatas (and Symphonies for that matter). So many different ways to approach them and so much joy to be found in the exploration.
I grew up with a few of the CDs from the Buchbinder cycle and these recordings were instrumental in motivating me to practice the piano for hours a day.
When it comes to complete sets of the Beethoven, sonatas, more is better. There is so much richness in them.
Thanks for the review. i did a quick listen to Brautigam, i liked it and will get the set. (for reference my current fav is Pollini. I've loved Kempff and Arrau before and i may check them out again too)
Stephen Kovacevich is my current favorite. A few other likable complete and non-complete cycles - Richter, Gilels, Barenboim, and Brendel.
I have the Kovacevich complete set, and heard him play at the Sydney Opera House several years back.
For me it is Friedrich Gulda with his 3 different complete recordings, after him comes now Rudolf Buchbinder. From older recordings I like Annie Fischer, W. Backhaus. (I like what Mr. Hurwitz says about him - it is pretty accurate!)
Currently working my way through the Levit cycle, and blown away by it. It's really got everything. So far (I'm still in the earlier sonatas) I'm particularly appreciating the drama of his interpretation, and the power of it. He's really unafraid to give you a real jolt of explosiveness, and it feels so right to me. Wonderful achievement, and I can't wait to get to the later ones, now knowing that the whole set will be consistent.
You may not be opposed to Beethoven on a quality fortepiano, but I certainly am.
Beethoven was unambiguous throughout his life. He was always looking for the latest and greatest in piano technology. As the instruments became more heavily strung with iron harps and increased range, he took full advantage of the advancements in his latest works. The first note below F1 occurs in Op. 101 I believe, with notes ranging down to C1 over the last five sonatas.
Likewise, there are passages from the middle period that are obviously artificially limited to C7. One notable example is the 4th Piano Concerto where Beethoven repeatedly bangs his head at that C7 and has to modify parallel passages in the recapitulation as compared to the exposition. Mid 20th C. pianists had little concern extending these passages --- before the chill of historically-informed performance practice.
I don't presume to speak for Beethoven on much. If he came back from the dead (fingers crossed on this one) nobody has any idea what he'd have to say on a lot of things. But in terms of pianos, the evidence is stark: he'd demand a modern piano. The only real question is whether he'd accept the dominance of the Steinway Model D, or go with something different like a Boesendorfer Imperial or maybe a Fazioli. He was very partial to light Viennese actions even in his old age.
I'm just paraphrasing here, but I remember a quote from Beethoven after he completed his Op. 111 Sonata and moved on to other forms. He said that the piano remains an inferior instrument. Take that perspective and run with it.
Hi Dave, thank you very much for your videos - I enjoy them tremendously! I`m especially glad you mentioned Ronald Brautigam´s cycle (no, I am not his mother!). To put the record straight (if nobody has done so before): The Brautigam-cycle was recorded on THREE fortepianos, each built after "modern" instruments of Beethoven´s life, and they represent the developement of piano making during Beethoven´s life. This might have been done to have "authenticity", that you may not care much about, but these recordings do not only show Brautigams musicality, but also give an idea, why Beethoven wrote certain things the way he did. We already got so used of some weird sounding Beethoven sections on modern pianos. But after Brautigam, one might want to think over the opening of the Waldstein Sonata for example. Or the realtionship of trills to all the rest of the music. Also a reason why this Beethoven-box is a must-have - in my humble opinion.
Thank you for adding these insights. I'm sure some viewers will find them valuable, and as you say, this isn't an area that much interests me so I'm happy to have your comments.
@@DavesClassicalGuide You're not only a insightful and entertaining musician and music critic, but on top of it a fine diplomat. Thank you - for all of that!
The new Giltburg cycle is amazing. Brilliant acoustics and recording, and Giltburg's skills are absolutely top notch. He manages to achieve a fine balance between precision, tenderness and warmth. Reminds me of my old favourite Gulda, but with amazing modern sound and recording. Worth checking out!
I'm generally the type to always be in search of new music so it's rare that I continually revisit music I've heard, but the Beethoven Piano Sonatas are among the few "cycles" I never seem to tire of revisiting. Arrau's was the first set I heard when I was in my early teens. It really left an impression as for a long time I heard most all other interpretations as shallow and light. It took finally hearing Kempff's first set that I started to appreciate Beethoven played with more subtlety and nuance. Since then I discovered so many great interpretations that continued to provide new insights into these endlessly multifaceted masterpieces; two I'm surprised not to see mentioned were Gilels (sadly incomplete) and Pollini. Though he never even attempted an official cycle I also highly value Richter's approach to Beethoven and he has several of my references. I'll have to check out the Levit and Gulda.
Kempff is my first choice!Pure poetry!
Yes!!!!!
Kempff is in my top two, but only for the 1950s set - I’m sad that the 1960s cycle is more famous.
A Beethoven sonata cycle that I think deserves a second listen is that of Yves Nat on EMI. Nat, like Cortot, Casadesus, and most importantly Edouard Risler, were students of Louis Diemer. All of the Diemer students are highly individualistic interpreters. Risler performed the first complete Beethoven cycle of the 20th century in 1905. Nat's interpreetations are highly passionate while being highly intellectual at the same time. His tempo choices are always informed by his detailed care for inner voices and sensitivity to counterpoint. His piano tone is among the most beautiful ever recorded. He is a subtle but highly incisive and characterful interpreter. The later sonatas don't have quite the spiritual aura of a Serkin or Solomon, but they exude a complete understanding of the import and architecture of the pieces, especially op. 109 and 110. It's a mono recording, though.
Nat's is a very highly respected cycle. I enjoy it now and again.
Nat's is certainly one of my favorite cycles but I sometimes detest the early 50s French EMI mono sound quality, which had the acoustic of a cardboard box covered with a blanket.
I grew up listening to Schnabel's second volume of Beethoven sonatas. I never heard a version of the E-flat Major Sonata quasi una fantasia that matched his until I heard Richard Goode's version. So I bought his set after acquiring the Arrau set. I grew up listening to the Serkin recordings and still love them dearly, especially his Pathetique and A Therese sonatas. I also like Brendel, especially his Diabelli Variations.
Bravo! Whilst this is a task akin with trying to empty the sea with a leaky spoon, it's a great overview! I grew up with the Barenboim EMI set; that always struck me a bit dour in places ( I know Beethoven is serious but not always humourless) and indifferently transferred to CD. Definitely give a thumbs up to Levit, particularly the late sonatas! Cheers
Thank you!
I think my favourite is No.27…for its simplicity and nobility. The 32 piano sonatas I think represent the single greatest single body of work in the 19th century western canon.
Glad to hear the classic Rudolf Serkin recordings being mentioned. His son, the late Peter Serkin, also recorded an excellent set of the late sonatas albeit on fortepiano.
Indeed he did (glad you're back!).
I know this post has been out for a number of months, and I watched it before, but I wanted to again. I liked your comment: "...they believe deeply in the soloists that they love and that means they have to hate all the other ones..." That made me laugh.
I’ve inherited five complete Beethoven cycles: Paul Lewis, Emil Gilels, Boris Giltburg, Bernard Roberts, and Solomon. None of which you mention. I haven’t yet investigated them, because there are lots of individual sonatas by other pianists which I’ve been playing. I remember Oscar saying that he couldn’t get into one of the concerts playing at the South Bank in London, so went to hear this virtually unknown pianist Bernard Roberts and was incredibly impressed. Serendipity can be so useful! I do value these talks of yours. Music appreciation at its best.
Among the young pianists, Stewart Goodyear brings incredible technique and velocity to his complete Beethoven Piano Sonata recordings. He actually plays the "Hammerklavier" at Beethoven's indicated metronome indications, making it sound very musical all the while.
No living pianist gets me closer to the spirit of Beethoven, on recording or in concert, than Richard Goode. But I like your choices, too (I'm making my way through Levit).
Goode is undoubtedly one of the great ones as well.
While I agree that her set is superb, I can't say that I agree that Annie Fischer's set is a sleeper, as I know many pianophiles who love it. I've loved it myself for many years. Her power, passion and intensity suits the music perfectly. I have heard dozens of sets and to me, hers is the very best. For me, Gulda's Amadeo set on Brilliant Classics is tied with Lucchesini's live set on Stradivarius as my second favorite. Gulda's set is certainly more clean shaven, more modern than Annie's. And his technique is absolutely stunning.
Fair enough!
One of my favorites: Eric Heidsieck. His Beethoven comes from Mozart. Maybe the late sonatas are played a little bit too lightweight, but I like his approach much.
The best recording of Beethoven's late sonatas that I've listened to is Peter Serkin's. It gives me everything I need emotionally. One can always be on the look for other alternatives, though. I will check the Brautigam, whose Haydn sonatas are indeed magnificent. Funnily enough, once having listened to fortepiano, I don't wish to go back to modern piano.
Hi, this video recently appeared in my feed. I subscribe to several classical channels on YT, but yours is quite unique, informative, light-hearted and fun. I like the emphasis on artist 'survey, retrospective, and appreciation'. I like your musical knowledge and the fact that you're sharing it here. For myself, I enjoy having more than 'one' artist's performance of a composer's work, so your insights are really helpful in assembling a collection. Liked & subscribed. Will check out your other posts.
Welcome aboard! Thank you. For a long time when people said that I appeared in their "feed" I thought they were talking about animal husbandry and I couldn't imagine what I was doing in a bag of chicken chow.
I lived for many years with only ONE LP of LvB sonatas, and that was Serkin’s trio of the famous named sonatas on Columbia. I was very happy with it and I still think it’s one of the best single piano disks around. Well, I now have several complete sets, including Schnabel on Dante Lys, which strikes me as a happy medium between the bright, noisy Pearl, and the overprocessed and dull sounding EMI. That said, you are entirely correct in that more modern sets give more realistic and enjoyable piano sound.
Thanks for mentioning the Igor Levit cycle. His tone and clarity of play are beautiful. Sets that I always go back to are the ones by Claude Frank and Wilhelm Kempff. Claude Frank is not so well known may be, but his Beethoven playing is excellent, and the cd sound is very good. For historic recordings Solomon is wonderful (but probably not a complete set).
My first pick for a whole set is Barenboim first one (EMI) or the third one (DECCA). The DG one is also good but somehow never convinced me that much, and the fourth (the COVID one) was just completely unnecessary in my opinion.
Brautigam period piano set is a blast.
But this is just if we're talking about the whole thing. For individual pieces I'd sometimes pick other recordings. As an example - Rubinstein's 1976 recording of E-flat Op. 31 No. 3 is just devine
Dear David, I have been very fond of Claudio Arrau since my early youth. I had been waiting for the release of his complete recordings with Philips for many years, so that you can imagine, how happy I was when Decca finally released the fantastic box. Needless to say, I enjoy his Beethoven very much.
However, some months ago I found the set of Igor Levit that my daughter got as a present as soon as the box was released. I started listening and could not stop all day. This guy has really something to say. Impressive. And the beautiful sound of the grand is well captured too.
Thank you for the recommendation regarding Annie Fischer. I will have to explore!
@@nicholasschroeder3678 Nice story! Thank you!
My penny worth is (haven’t heard Levitt) Kempff probably my fall back recording. Brendel Phillips I think there is something a bit off with the CD transfers but the performances are excellent. Backhaus my favourite for many but not all the sonatas possibly a little over romantic. And I really enjoyed Jeno Jando on Naxos, which I bought piecemeal as they came out, decent sound, good steady interpretations.
Gulda for sure my no. 1
The Beethoven cycle played by Alfredo Perl is also worth a listen although it is very difficult these days to still get it although it was recorded in the 1990s. Definitely one of my favorites.
Not to be crass but the soaring prices for Perl discs suggest how highly regarded he is in some (discerning) circles. I believe Perl now conducts a German chamber orchestra, which is wonderful, but his pianism is sorely missed.
@@jackatherton0111 I don't think they were printed in vast quantities in the first place, but it certainly helped that the 'pope' of German music critics, Joachim Kaiser, praised the recordings with considerable enthusiasm back in the day. That was before my time though, so I know exactly how difficult it is to get your hands on a full set of his Beethoven sonatas. I've seen him conduct once or twice, too, but I definitely prefer him as a pianist.
The Gulda set won the Deutsche Schallplattenpreis when it was first released on LP. Have had it for years, once came across the entire set in mint condition in a second hand shop in Freiburg, Germany, while on holiday there. One of the best purchases I ever made, only 25 euros. By the way, are you familiar with the sonata cycle Rudolf Buchbinder recorded for Teldec? I haven't heard the entire set but have a total of 3 CDs with recordings from this cycle and they're excellent.
In my opinion, the best Beethoven complete piano sonata cycle is by Alfred Brendel on Philips. Even if you're not a big Brendel fan (like Dave), I really recommend listening to them. His "Moonlight" and "Pathetique" surpass those of Kempff and Barenboim by a lot. Anyway, thanks for another great video, Dave! All the best.
Now your'e talking. Brendel somehow is hated because of his rather cool intelligent approach. But its not coolness I find its so much further ahead of Kempff in especially the late sonatas. I love his opus 109 and 110 the most. His 111 is way of. If there s the one who really grips the 111 its Pogorelich in his DVD recording. Also the DG is very good but the DVD tops it. No one really no one understands this piece more.. with all the other ones I constantly feel something is not right...Yes he is extremely slow compared to the others but then it gets the drama expression you need and when speed is acquired he is speedy.. The 7th Sonata I have a special recommendation that exceeds all. Its Ingrid Flitter live in Concertgebouw Amsterdam. She digd even deeper than the wonderfull Vladimir Ashkenazy. Then there is Arrau with greath warmth and sometimes un Beethoven like phrasing who is topped by John Conner on Telarc. Those performances are so rich in warmth and tenderness without being next to Beethovens style. Especially the famous pieces played very beautiful bij John O'Conner. A cycle you have to have next to Brendels. Both Brendels are beautiful and very different too. The latest is very lively very humanly breakable played and the first one is much more logical and easier approachable. I especially find his earlier Philips Hammerklavier just perfect. No one comes near but only one who tops it by far. Its the Gilels live recording on Brilliant Classics which was from an Russian recording company ..bit older somewhat metallisch recording but also great if you own a real good audio set. Than it really shines. So extremely beautiful Hammerklavier is in my top ten ever most beautiful music pieces ever.
I am intrigued by the Levit set. Was hoping Richard Goode or Peter Takacs would make an appearance on this list. Another fine video - thank you for these.
Goode made the update video.
This video alone justifies why I must keep listenning you. I completly agree with everything you said. I just miss more talk about Gilels - as Serkin - it is a must among the best and thinking about incomplete cycles Solomon is amazing too (but not for this video, I agree).
Yes Solomon was one
Of the Greater Beethoven
Interpreters of the 20th century
More so than the pianists
Mentioned I think the late
Walter legge would agree
With me
As a piano player myself, I can say I don't know any pianist whose performances I liked throughout all of the sonatas that they've recorded. I can always tell there's always at least some of the sonatas they're not particularly fond of and don't give them the same level of preparation as they do for other sonatas. Some of the later performances of Barenboim like the Waldstein I really like. Korstick's 32, Goode's 22 even though I normally don't like Goode at all. His rubato to me tends to sound so awkward as to make him sound drunk.
my best complete beethoven sonatas is anton kuerti on analekta.....with him....i listen ....the recording is magnificent,you hear everything of the two hands....it dissects each notes,,,,,this is anytimes exicting....!( sorry my english is bad)
Sadly, Anton Kuerti suffered a stroke onstage several years ago while performing a program of lesser known Beethoven piano works.
I have LPs on Aquitaine. Kuerti's slow movements can be very slow but he does hold them together.
Somewhere in the CBC archives are his talks and performances of most or all the sonatas .
Recently purchased rather cheaply, the Claude Frank set on Victoria LPs (remember those?). Making my way through it bit by bit, and I am rather impressed.
Sure do remember them! Frank is first-rate.
Francis Albert You are most kindly welcome. They are new to me as well. I’d heard about them some time ago, and when I saw this nice set of RCA Victoria LPs so cheaply, I thought I would give them a try.
I love the Frank set !
Gulda's set is my favorite. Wonderful interpretations in all respects. However, as you point out, he plays them very fast. They don't feel rushed but they do zip by without letting you appreciate them in some cases. I don't own Levit but I have listened to it a bit and it seems to have the same rush to it. I would like Kovocevich's much more than I do if it was better recorded.
He may seem fast, but his tempi comes from Beethovenˇs pupil Carl Czerny (who played all B´s sonatas for the composer or heard him play them). Gulda - as a born "Weaner" - respects that.
I just downloaded the Annie Fischer set. Can't go wrong for $12.49. I listened to Op. 10/2 and enjoyed it. I'm looking forward to the rest. One point about the Brautigam set: he uses the Graf copy for the Waldstein forward, but a copy of Walter & Sohn for the earlier sonatas and a copy of a Stein for the WoO material. For the record, I also have Buchbinder, Frank, Pollini and the Serkin box.. The Victrola pressings of the Frank are horrible. Warps, pre-echo, etc. CDs are better, but still don't have great sound.
Where did you download this set for $12, please? Thanks.
The Pollini set on Deutsche Grammophon is the most satisfying, particularly in the last sonatas. As for the op. 110 and 111...unparalleled in recorded history.
Love the last three sonatas the best. Nothing else sounds like them ( no.30, 31 & 32).
Emil Gilels Wilhelm Kempff Maurizio Pollini Grigory Sokolov Maria Grinberg The best Beethoven Sonatas
Hope the Kempff fans can hear his partial 78 cycle on APR or Dante. The short sides and absence of immediate playback for the artist might suggest a lack of continuity (and that’s occasionally the case) but Kempff also seems more unbuttoned than on either of the later cycles (and the live one from Japan). Thanks as always, Dave.
I looked through my Beethoven sonatas "banker's box" and was shocked that Annie Fischer's box wasn't in there. I was sure that I had got it when it was released. I did manage to pick up her collection of about 2 cds of EMI Beethoven recordings in the Icon box, however. So much to listen to, so little time. Just ordered the Fischer Hungaraton box off of Amazon. Glad it's still out there. Incidentally, Gulda blew me away as well. His No. 25 made me sit up in my chair like I'd never heard the piece before. Amazing!
I wonder if anyone likes Jumppanen's recordings (on ONDINE). Personally I find them extremely exciting, full of energy. Not only does he have brilliant, impeccable technique, there are so many surprising yet wonderful thoughts. Just listen to the 4th movement of the First sonata...
I share youır opinion about Jumppanen, I also like his energy and unexpected things that he's doing with the sonatas, I'm afraid he's a bit overlooked by the traditionalist clan.
Levit is a superb, poised pianist and artist: I've just some difficulties at times finding him interpretatively interesting, he's always musical but rarely illuminating (a big IMHO, obviously). But it's still a great choice as a reference, maybe even more because of this "medietas" (not "mediocritas", mind you). Annie Fischer is surely special, so is Gilels (sadly not truly a complete cycle). Schnabel is musically stellar and sonically sad. You can never ever listen to too many good readings of this infinite trove of sounds and humanity.
I haven't heard the recorded cycle by Levit but have have heard him in broadcast recitals playing Beethoven and I have always found it rather brittle. I will revisit after seeing this, but I'm recently enjoying the emerging cycle by Giltburg - who is still only halfway into the cycle. Russian pianists in Beethoven are - I find - much more forceful and fascinating - eg Yudina, Gilels, Richter, Sokolov - Giltburg has the power but has a sensitive touch too. Worth a trying
Even though he only recorded a handful of the Beethoven Sonatas, take a listen to Charles Rosen. I think you'll enjoy them.
I have them and enjoy them. Thanks.
David, I can't tell you how much I'm enjoying these videos. Thank you for sharing your immense wealth of knowledge - I'm falling in love with collecting and listening again. Don't stop making them! (P.S. I'm having trouble finding a "Cosi" I like....hoping to see some opera rec vids soon??)
Great to hear!
Dave, many thanks for taking on the thankless task of tackling the ins and outs of collecting Beethoven piano sonata cycles, and for outlining some of the basic parameters involved in this pursuit. I knew this talk would be a real hoot as soon as you said that “piano people” are as crazy as “opera people.” You can say that again!
The identification of Kempff and Arrau as major exemplars of two different poles of Beethoven playing/ interpretation is certainly as good a place as any to start. After that, it's anyone's guess as to where we go next. As the saying goes, There are many roads to Mecca; and as the other saying goes, All roads lead to Rome...
Whenever I get a hankering to add yet another cycle to my collection, I read a gazillion reviews first... and even that doesn't necessarily set my mind on the right road. I will say that Jens Laurson's comprehensive annotated survey of
complete or nearly-complete Beethoven piano sonata cycles is an invaluable resource. I once tried to compile a list of recorded cycles on my own and gave up at 40-plus before I discovered Jens's list and learned that there are well over 100 such cycles, a number that seemingly grows by the month. And “Beethoven piano people” who frequent various online forums will have come across a fellow by the name of Todd who apparently has listened to, and extensively evaluated, just about every such cycle in existence. Whew! Anyone who attempts that won't have any time to listen to Bruckner.
For what it's worth, when I'm exiled to my desert island, I'll be taking Backhaus's stereo set (with his monophonic Hammerklavier) with me. But can Annie Fischer come along too?
~ John Drexel
P.S. When/if I get around to writing my memoirs, I'll include a vignette about the time I was introduced, in person, backstage, to Rudolf Serkin just after he had given a recital. All I remember him saying was "Wolfgang Amadeus, Wolfgang Amadeus, Wolfgang Amadeus..."
I enjoy all the versions you mentioned, excepting Brautigan's (I am a fortepiano hater). I agree with your comments, excepting regarding Levit, in my opinion he lacks substance. If I had to choose only one it would be Annie Fisher. From the plethora of recent versions, disregarded in your survey but, for me, absolutely stunning is Fazil Say. I was surprised you did not mention any of Alfred Brendel three versions. I am a compulsive viewer of all your marvelous videos, fulls of wit and extraordinary knowledge. Thanks you very, very much.
You are welcome.
Levit is amazing! Thank you for advocating such a recent recording as the top recommendation.
Must admit I really admire Kempff in this music, though the stereo versions are really hissy and need remastering. Really like Arrau's sonority too.
Nice video, appreciate the range of styles here and discussion of both older/historic and newer performances. I find myself partial to Casadesus, but he did not come close to a cycle.
Schnabel and Gulda, yes (I think the contrast between these two couldn't be much greater) as well as Serkin, but what about Gilels and Backhaus? The latter is a must. No dice with Arrau (is he playing Liszt or Beethoven?) or Kempff with his pretentiously small scale interpretations.
How about Jean-Bernard Pommier? His performance of the Appassionata is outstanding; he sounds like Beethoven!! The instrument he plays sings as if it were made for that sonata!
My favorite cycle is by Vladimir Ashkenazy. I feel there is no other pianist who understands and conveys the magic of this amazing music over the entire 32 sonatas as consistently as he does.
I've always hated comparisons... so-and-so is better than so-and-so, etc. Every concert pianist is brilliant in their own right.
But Ashkenazy is the best.
My favorite is the Russian style Maria Grinberg despite the bad sound . The phrasing is pretty satisfying and Russian heavy sound . As for more modern i like the exciting and maybe vulgar set of HJ Lim. And am happy you chose Levit!!!!!
Thank you for another highly informative and entertaining presentation. You are a gifted teacher! I always come away with new knowledge and an excitement about listening to new recordings -- or familiar recordings with new ears. In recent days, I have been absolutely loving the recordings by Annie Fischer and Igor Levit that you recommended. All the best!
Wow, thank you!
Konstantin Lifschitz is the latest addition, on Alpha Classics.
Interesting survey, thanks! I love Levi's interpretations, but the cavernous sound bothers me. Another top-notch recent set for me is the one by Jonathan Biss.
Any opinions on either of the 2 sets by Barenboim? I have lived with the early set for 20 years. Do you all think he is worth an notable mention? I will check out the Levitt newer release, thanks.
He doesn't do it for me.
Wow! The people you left out (Kovacevich, Goode, Brendel, et al) means the ones you chose must be remarkable. But, then, I love Arrau--especially the way he swings in the last sonata. Yep, I said swings boogie woogie style. Great review.
I certainly could have included Goode, but you've got to draw the line somewhere...
Great selection, I like all of these sets! What's your opinion on Buchbinder's two? I always thought they were quite similar to Brendel's approach, but to my ear more exciting.
I think you describe them well, in general.
Dave, I don't have the money or space for another complete Beethoven piano sonata cycle. However, I would like to get some Claudio Arrau recordings of some sonatas. Which recordings of which Beethoven sonatas represent Arrau at his best?
Check out the Arrau reviews on ClassicsToday.com for guidance. You'll get some ideas there.
Hi, David, thanks for another great video. Kovacevich is my first choice, followed by Kempff, Brendel and Gilels. Unfortunately, the Russian pianist didn't record the whole cycle.
Love the Levit! Thx so much!
Glad you like it!
Dave, your own Jed Distler reviewed Stewart Goodyear's recordings of the last 5 Beethoven Sonatas. He loved Goodyear's performances but was a bit bothered by less-than-excellent recorded sound of the Marquis release. Well, it turns out that Goodyear has recorded ALL of the Beethoven sonatas and Marquis has released them. What is Mr. Distler's appraisal of Goodyear's complete Beethoven set?
You'll have to ask Mr. Distler.
@@DavesClassicalGuide How do I contact Mr. Distler
What about Wilhelm Backhaus? Thank you.
It clearly stems from another period of interpretation - that makes it really interesting to me, especially for the choices that do not work as well today
What are people’s opinions on the new complete cycle by Boris Giltburg !?
*I’m not very familiar with the complete Beethoven sonata cycle but Giltburg is one of my favourite pianists and I’m considering buying that box set to start me off!
Light years better than Levit!
Now the pandemic is over you can retake that idea of making a duo with Mr Disler for a piano video
Anyone like the Bavouzet set? I have two of the three boxes. What a great artist.
I like it plenty.
I was going to suggest this for the first volume in particular. I have not heard a better set of the early period sonatas (not that I've heard nearly as many as Mr. Hurwitz). Just speculating, but I think there may be two significant reasons for this. First, Bavouzet recorded lots of Haydn sonatas before starting the Beethoven, and I think Beethoven learned more from Haydn than he would admit. Second, some pianist may regard the early sonatas as things you just need to record to have a "cycle," and don't put as much effort into developing an interpretation.
There is a fine complete set by Malcolm Bilson and his students on various fortepianoc form 1995 on Claves, quite edgy tempo-wise, fresh, full of zest and color.
In my youth I bought a double LP with Wilhelm Kempff "BEETHOVEN Die beliebtesten Sonaten" and found them pretentious and boring. Much later I enjoyed Stanley Hoogland and students' box set of Haydn sonatas so much, that I searched for some of the participants and discovered the existence of the Beethoven set on Claves and managed to locate a copy. Suddenly Beethoven sounded fun and exciting, so I have become familiar with the music and have recently started to appreciate different interpretations, but that box set sure was an eye opener!
Hi Dave, thank you so much for this wonderful and at the same time quite entertaining assessment of Beethoven's opus magnum. May I ask your opinion about Michael Korstick's much prized set? He's a very underrated guy as far as I can see. I discovered his set of 32 quite lately but I had a deep satisfaction when I began to hear them, especially his Hammerklavier.
Unfortunately Arrau's recordings aren't available anymore. Maybe they'll be reissued at some point.
The Ronald Brautigam recommendation is the greatest gift ever! Not only does he know how to get a great sonority out of the instrument and understand what Beethoven wrote, but he gets the fortepiano to speak the language of this music with ease. I listened to his performance of Op.31 No.3 (my second favorite Beethoven sonata), and it blew my socks off. I wish I could say I love Beethoven’s music, but I am soured by Beethoven declaration that he learned nothing from Haydn as Haydn is, by a huge margin, my favorite composer of the Viennese classical era. I have always thought Beethoven’s best works were the ones where he didn’t disguise Haydn’s influence, like this one. I sometimes pejoratively refer to Beethoven’s entire musical output as third period Hadyn. I should try to be more kind-hearted and empathetic going forward and stop doing that. I listened to some of the Igor Levin as well - also a great find. Thank you!
You're welcome. Another piece of advice, if I may:. Listen to what composers do, not to what they say. Most of them were disturbed or obnoxious or jealous or all three, and so what? Beethoven learned much from Haydn the composer, and his music shows a greater influence in the later works (as opposed to the earlier ones). After Haydn was dead, of course Beethoven had nothing to fear from the rivalry (purely on his part), and he became much more gracious and admiring, but again, it's the music that matters.
Never heard the Brautigam recording of Beethoven; have to give that a listen to. I have heard his performances of Rachmaninoff's complete Preludes; excellently done.
What do you think of Stewart Goodyear's set?
To me, the best sounding set of the Schnabel Beethoven sonatas was on Naxos Historical CDs. The Pearl masterings are very noisy, they literally gave me headaches. The EMI sounds like it was recorded underwater.
Try Pristine Audio Schnabel set. The best by far.
Just try the original RCA LM-9500 13 LP original set which include the music books of the Sonatas or the Angel GRM 4005 re-issue LPs, play it with a great mono cartridge and the sound takes a natural liveness that no CD re-issue would ever touch. The piano sounds live and real not processed.
Hi Dave, I studied electrical engineering in the 1980s with Vladimir Ashkenazy’s Beethoven Decca Pianos sonatas glued to my ears for nearly 10 years. I met him once at the Sydney Opera House (1982 maybe?) and had the poor guy sign my Decca vinyl LP complete Sonata collection. He wasn’t happy because my father had phoned him during the intermission to ask him if he would sign the albums! Anyway, he signed them and I still have them, 40 years later. Ashkenazy is therefore my ‘reference’ recording.
would have loved Hurwitz' reaction to Paul Lewis or Jonathan Biss, though the former's cycle isn't complete, I think. but a lot of listening ideas, thanks.
I actually got into a web argument with Mr Biss. He felt his politics was more important than the music itself. I haven't listened to him since.
@@JXS63J Happily I give the edge to Mr.Lewis anyway.
Great video, I think you certainly met your aim -- the survey covers a lot of cycles and is still 20 minutes long! And by the amount of famous omissions it really does show how many recordings there are of the complete Beethoven sonatas, let alone incomplete cycles and individual recordings.
One quibble though, I love Annie FIscher's cycle but I think it can't be unsaid that the piano recording has a dry, brittle tone which can can sound unpleasant at times when compared to her earlier EMI recordings.
There seems to be no recording of the Diabelli Variations by Kempff or Annie Fischer. Do you know if this is really so? And, in addition, which version(s) of this masterpiece would you recommend?
Check out reviews on ClassicsToday.com. They are mostly by Jed Distler and there are none better.
Dear David, thank you for the great review, a lot of valuable recommendations to my shopping list. What do you think about Alfredo Perls cycle? And what about Barenboim's latest cycle? Kind regards
See ClassicsToday.com for reviews (if not by me, I agree with them).