Beethoven: Piano Sonatas
Beethoven: Piano Sonatas

Beethoven: Piano Sonatas
Manufacturer:
Polygram Records

UPC:
028942930629

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$71.98

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Beethoven: Piano Sonatas Specs:
Product NameBeethoven: Piano Sonatas
ManufacturerPolygram Records
Retail Price $71.98
EAN-130028942930629
EAN-1400028942930629
UPC028942930629
Specifications 
Release Date1991-07-01, 1991-07-12
FormatAudio CD, CD
Artist(s)Ludwig van Beethoven, Wilhelm Kempff
AlbumBeethoven: Piano Sonatas, Beethoven: The Piano Sonatas / Wilhelm Kempff
Tracks
  1. Sonata No. 1, Op. 2 In F Minor: 1. Allegro - Beethoven
  2. Sonata No. 1, Op. 2 In F Minor: 2. Adagio - Beethoven
  3. Sonata No. 1, Op. 2 In F Minor: 3. Menuetto. Allegretto - Beethoven
  4. Sonata No. 1, Op. 2 In F Minor: 4. Prestissimo - Beethoven
  5. Sonata No. 2, Op. 2 In A Major: 1. Allegro vivace - Beethoven
  6. Sonata No. 2, Op. 2 In A Major: 2. Largo appassionato - Beethoven
  7. Sonata No. 2, Op. 2 In A Major: 3. Scherzo. Allegretto - Beethoven
  8. Sonata No. 2, Op. 2 In A Major: 4. Rondo. Grazioso - Beethoven
  9. Sonata No. 3, Op. 2 In C Major: 1. Allegro con brio - Beethoven
  10. Sonata No. 3, Op. 2 In C Major: 2. Adagio - Beethoven
  11. Sonata No. 3, Op. 2 In C Major: 3. Scherzo. Allegro - Beethoven
  12. Sonata No. 3, Op. 2 In C Major: 4. Allegro assai - Beethoven
  13. Sonata No. 5, Op. 10 In C Minor: 1. Allegro molto e con brio - Beethoven
  14. Sonata No. 5, Op. 10 In C Minor: 2. Adagio molto - Beethoven
  15. Sonata No. 5, Op. 10 In C Minor: 3. Finale. Prestissimo - Beethoven
  16. Sonata No. 6, Op. 10 In F Major: 1. Allegro - Beethoven
  17. Sonata No. 6, Op. 10 In F Major: 2. Allegretto - Beethoven
  18. Sonata No. 6, Op. 10 In F Major: 3. Presto - Beethoven
  19. Sonata No. 7, Op. 10 In D Major: 1. Presto - Beethoven
  20. Sonata No. 7, Op. 10 In D Major: 2. Largo e mesto - Beethoven
  21. Sonata No. 7, Op. 10 In D Major: 3. Menuetto. Allegro - Beethoven
  22. Sonata No. 7, Op. 10 In D Major: 4. Rondo. Allegro - Beethoven
  23. Sonata No. 4, Op. 7 In E Flat Major: 1. Allegro molto e con brio
  24. Sonata No. 4, Op. 7 In E Flat Major: 2. Largo, con gran espressione
  25. Sonata No. 4, Op. 7 In E Flat Major: 3. Allegro
  26. Sonata No. 4, Op. 7 In E Flat Major: 4. Rondo. Poco allegretto e grazioso
  27. Sonata No. 8, Op. 13 'Pathetique' In C Minor: 1. Grave - Allegro di molto e con brio
  28. Sonata No. 8, Op. 13 'Pathetique' In C Minor: 2. Adagio cantabile
  29. Sonata No. 8, Op. 13 'Pathetique' In C Minor: 3. Rondo. Allegro
  30. Sonata No. 9, Op. 14 In E Major: 1. Allegro
  31. Sonata No. 9, Op. 14 In E Major: 2. Allegretto
  32. Sonata No. 9, Op. 14 In E Major: 3. Rondo. Allegro comodo
  33. Sonata No. 10, Op. 14 In G Major: 1. Allegro
  34. Sonata No. 10, Op. 14 In G Major: 2. Andante
  35. Sonata No. 10, Op. 14 In G Major: 3. Scherzo. Allegro assai
  36. Sonata No. 11, Op. 22 In B Flat Major: 1. Allegro con brio
  37. Sonata No. 11, Op. 22 In B Flat Major: 2. Adagio con molta espressione
  38. Sonata No. 11, Op. 22 In B Flat Major: 3. Menuetto
  39. Sonata No. 11, Op. 22 In B Flat Major: 4. Rondo. Allegretto
  40. Sonata No. 12, Op. 26 In A Flat Major: 1. Andante con Variazioni
  41. Sonata No. 12, Op. 26 In A Flat Major: 2. Scherzo. Allegro molto
  42. Sonata No. 12, Op. 26 In A Flat Major: 3. Marcia funebre sulla morte d'un Eroe
  43. Sonata No. 12, Op. 26 In A Flat Major: 4. Allegro
  44. Sonata No. 13, Op. 27 In E Flat Major: 1. Andante - Allegro - Tempo I - attaca:
  45. Sonata No. 13, Op. 27 In E Flat Major: 2. Allegro molto e vivace - attaca:
  46. Sonata No. 13, Op. 27 In E Flat Major: 3. Adagio con espressione - attaca:
  47. Sonata No. 13, Op. 27 In E Flat Major: 4. Allegro vivace
  48. Sonata No. 14, Op. 27 'Mondschein-Sonate' In C Sharp Minor: 1. Adagio sostenuto - attaca:
  49. Sonata No. 14, Op. 27 'Mondschein-Sonate' In C Sharp Minor: 2. Allegretto - attaca:
  50. Sonata No. 14, Op. 27 'Mondschein-Sonate' In C Sharp Minor: 3. Presto agitato
  51. Sonata No. 16, Op. 31 In G Major: 1. Allegro vivace - L.V. Beethoven
  52. Sonata No. 16, Op. 31 In G Major: 2. Adagio grazioso - L.V. Beethoven
  53. Sonata No. 16, Op. 31 In G Major: 3. Rondo. Allegretto - L.V. Beethoven
  54. Sonata No. 17, Op. 31 'Sturm-Sonate' In D Minor: 1. Largo - Allegro - L.V. Beethoven
  55. Sonata No. 17, Op. 31 'Sturm-Sonate' In D Minor: 2. Adagio - L.V. Beethoven
  56. Sonata No. 17, Op. 31 'Sturm-Sonate' In D Minor: 3. Allegretto - L.V. Beethoven
  57. Sonata No. 18, Op. 31 In E Flat Major: 1. Allegro - L.V. Beethoven
  58. Sonata No. 18, Op. 31 In E Flat Major: 2. Scherzo. Allegretto vivace - L.V. Beethoven
  59. Sonata No. 18, Op. 31 In E Flat Major: 3. Menuetto. Moderato e grazioso - L.V. Beethoven
  60. Sonata No. 18, Op. 31 In E Flat Major: 4. Presto con fuoco - L.V. Beethoven
  61. Sonata No.15, Op. 28 'Pastorale' In D Major: 1. Allegro
  62. Sonata No.15, Op. 28 'Pastorale' In D Major: 2. Andante
  63. Sonata No.15, Op. 28 'Pastorale' In D Major: 3. Scherzo. Allegro vivace
  64. Sonata No.15, Op. 28 'Pastorale' In D Major: 4. Rondo. Allegro, ma non troppo
  65. Sonata No. 19, Op. 49 In G Minor: 1. Andante
  66. Sonata No. 19, Op. 49 In G Minor: 2. Rondo. Allegro
  67. Sonata No. 20, Op. 49 In G Major: 1. Allegro, ma non troppo
  68. Sonata No. 20, Op. 49 In G Major: 2. Tempo di Menuetto
  69. Sonata No.21, Op. 53 'Waldstein-Sonate' In C Major: 1. Allegro con brio
  70. Sonata No.21, Op. 53 'Waldstein-Sonate' In C Major: 2. Introduzione. Adagio molto - attaca:
  71. Sonata No.21, Op. 53 'Waldstein-Sonate' In C Major: 3. Rondo. Allegretto moderato
  72. Sonata No. 23, Op. 57 'Apassionata' In F Minor: 1. In tempo d'un Menuetto
  73. Sonata No. 23, Op. 57 'Apassionata' In F Minor: 2. Allegretto
  74. Sonata No. 23, Op. 57 'Appasionata' In F Minor: 1. Allegro assai
  75. Sonata No. 23, Op. 57 'Appasionata' In F Minor: 2. Andante con moto - attaca:
  76. Sonata No. 23, Op. 57 'Appasionata' In F Minor: 3. Allegro, ma non troppo - Presto
  77. Sonata No. 24, Op. 78 In F Sharp Major: 1. Adagio cantabile - Allegro, ma non troppo
  78. Sonata No. 24, Op. 78 In F Sharp Major: 2. Allegro vivace
  79. Sonata No. 25, Op. 79 In G Major: 1. Presto alla tedesca
  80. Sonata No. 25, Op. 79 In G Major: 2. Andante
  81. Sonata No. 25, Op. 79 In G Major: 3. Vivace
  82. Sonata No. 26, Op. 81a 'Les Adieux' In E Flat Major: 1. Das Lebewohl (Les Adieux): Adagio - Allegro
  83. Sonata No. 26, Op. 81a 'Les Adieux' In E Flat Major: 2. Abwesenheit (L'Absence): Andante espressivo
  84. Sonata No. 26, Op. 81a 'Les Adieux' In E Flat Major: 3. Das Wiedersehn (Le Retour): Vivacissimamente
  85. Sonata No. 27, Op. 90 In E Minor: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
  86. Sonata No. 27, Op. 90 In E Minor: 2. Nicht zu geschwind und sehr singbar vorzutragen
  87. Sonata No. 28, Op. 101 In A Major: 1. Etwas lebhaft und mit der innigsten Empfindung: Allegretto, ma non troppo
  88. Sonata No. 28, Op. 101 In A Major: 2. Lebhaft, marschmassig: Vivace alla Marcia
  89. Sonata No. 28, Op. 101 In A Major: 3. Langsam und sehnsuchtsvoll: Adagio, ma non troppo, con affetto - attaca:
  90. Sonata No. 28, Op. 101 In A Major: 4. Geschwinde, doch nicht zu sehr und mit Entschlossenheit: Allegro
  91. Sonata No. 29, Op. 106 In B Flat Major: 1. Allegro
  92. Sonata No. 29, Op. 106 In B Flat Major: 2. Scherzo. Assai vivace
  93. Sonata No. 29, Op. 106 In B Flat Major: 3. Adagio sostenuto. Appasionato e con molto sentimento
  94. Sonata No. 29, Op. 106 In B Flat Major: 4. Largo - Allegro risoluto
  95. Sonata No. 30, Op. 109 In E Major: 1. Vivace, ma non troppo - L.V. Beethoven
  96. Sonata No. 30, Op. 109 In E Major: 2. Prestissimo - L.V. Beethoven
  97. Sonata No. 30, Op. 109 In E Major: 3. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) - L.V. Beethoven
  98. Sonata No. 31, Op. 110 In A Flat Major: 1. Moderato cantabile molto espressivo - L.V. Beethoven
  99. Sonata No. 31, Op. 110 In A Flat Major: 2. Allegro molto - L.V. Beethoven
  100. Sonata No. 31, Op. 110 In A Flat Major: 3. Adagio, ma non troppo - Fuga. Allegro, ma non troppo - L.V. Beethoven
  101. Sonata No. 32, Op. 111 In C Minor: 1. Maestoso - Allegro con brio ed appassionato - L.V. Beethoven
  102. Sonata No. 32, Op. 111 In C Minor: 2. Arietta. Adagio molto semplice e cantabile - L.V. Beethoven
Num. of Items9
Record LabelDG Deutsche Grammophon, Polygram Records, Deutsche Grammophon
GenreSonata
Deal first added on:23-February-2004
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Latest 6 Reviews
Here is what people are saying about the Beethoven: Piano Sonatas
5 Star Rating  "Kempff at his best"2008-10-03
- Reviewed By cstotlar2
How wonderful to hear Herr Kempff doing Beethoven again! I don't know how many recordings he's made of the complete piano sonatas - "not enough" comes to mind. He's in no hurry and the "virtuoso" element is thankfully nowhere in sight so we're left with the music itself and it never sounded better. The earlier sonatas in particular are clear and to the point without frills or too much soul searching. The music stars here and the vehicle, Wilhelm Kempff, is completely in tune with it.
The way the line is treated is magnificent. Kempff has a narrative quality in his playing like no one else. He can spin a yarn and we're almost afraid to look away for fear of missing a key ingredient.

Curtis Stotlar

 
5 Star Rating  "Kempff's unique style"2008-04-13
- Reviewed By User: A1FQR15M2TXFFZ
Like all of the music he recorded, Wilhelm Kempff has a way of applying his own unique interpretive style to these sonatas and making them his own, without taking away from the composer's intention. Unlike some of the recordings by today's artists, who play at speeds that tend to blur the notes, Kempff articulates each line clearly, cleanly and accurately. Now, I'm not saying that each one of these sonatas is my favorite interpretation, but several are. Two that I'm not particularly fond of are his readings of Nos. 21 & 23, both of which I prefer Gilels. He takes the Hammerklavier at a much slower tempo than any other I've heard, but he pulls it off remarkably. To my ears, of the more conventional approach to No.29, Serkin and Soloman do it a little better. As for the rest of the late sonatas, which I feel is the weakest part of this set (if I had to pick a weakness), my personal taste leans more towards Pollini, Arrau or Richter. Of the complete sets of 32 that I own (this one, Arrau, Schnabel, Barenboim [EMI], Annie Fischer and Gilels [nearly complete]), this one is my all around favorite. The sound is also very good.
 
5 Star Rating  "First class."2008-01-17
- Reviewed By dickcarr
These are my favourite interpretations of the thirty two piano sonatas although Brendel's collection of the same mid '60s period comes a very close second.

I have heard many of the other sonata sets and own a few, but musical gravity invariably pulls me back to Kempff. For me, he provides the most satisfying interpretations and performances of one of Beethoven's two most significant non-symphonic contributions to music; the other contribution being the string quartets.

Kempff's playing, along with that of several of his contemporaries like Gieseking and Wührer, has a refinement inherited from the 19th century; a refinement I find sadly lacking in some modern performances, aspects of which can be unpleasantly brash by comparison. He was 70 years old when he made these recordings which may account for a more contemplative approach to some works but age has not dimmed the sparkle of bravura passages. I have lived with this collection of the "32" for a long time and love it.

The recording is fine with a bright treble but the lower registers occasionally seem a trifle short of punch. But this is to quibble . .

The choosing of which set/artist to purchase is a serious matter and price should be an irrelevance but it is difficult not to have one's judgment influenced by these nine discs being available in 3-disc jewel cases for as little as $42, brand spanking new! Extraordinary performances at extraordinary value.

I have no reservation in my recommendation - I think it's simply the best.

 
5 Star Rating  "Master of masters!"2008-01-08
- Reviewed By higopa
These works are true state of art performances are like the great masterworks, they seem to change before us, but not they are, but us what we experience its infinite grandness every time we used to watch or even to approximate them.

This is the case of Wilhelm Kempff, regarded by many as the most authentic "voice of Beethoven."

His cantabile line was so natural, that flew organically, effortless with that peerless refinement and unique fingering, that really shaped every single musical idea contained in the score.

Although is easy to notice the tempos in general are slower respect the set of the Fifties (mono), there are Sonatas (like Moonlight or The tempest) that are played with cosmic approach. As a matter of fact, the main difference between him and the rest of the pianists is that he depicted the spirit of every work, through a smart dissection and then expressed all those pieces gathered systematically and then expressed with a symphonic lexicon, without affection and theatrical pose

A fundamental set that under no pretext must be in your priceless collection.
 
5 Star Rating  "The Set to Own"2007-11-30
- Reviewed By hbj200
This is the Beethoven piano sonata set to own, hands down. While Kempff was not perfect in interpreting all of Beethoven's piano works -- for instance, I never liked his playing of B's piano concertos -- he did an absolutely marvelous job with pretty every work in this set. (Note: the "complete" here means all of B's "regular" piano sonatas with opus numbers, e.g., op.6 is left out, as are WoO ones). Kempff's interpretation is both highly technical and enormously emotional. His most brilliance comes through in the more difficult late works, such as the Hammerklavier -- a piece I never liked as a young person but have come to appreciate as I approach middle age. The recording quality is also excellent, making this a pleasure to listen to anytime.
 
2 Star Rating  "Love or hate with little in between"2007-09-16
- Reviewed By omjuly2
I have owned this Kempff set for fifteen years. I will not part with it and yet despise it. I read the many glowing reviews and approve of their opinions while still believing them the product of a complete misunderstanding. Why the conflicted point of view? Sure, the brittle sound is not endearing. In fact, you could argue that it highlights Kempff's faults or, rather, his particular bias. My dislike of Kempff has very little do with his playing, which is unfailingly brilliant, and everything to do with his conception of Beethoven. There are a number of masters, a smaller company than can be assumed, who by virtue of their transitional position between styles (say, Scriabin, a composer straddled between late Romanticism and Modernism, and of course Beethoven, between Classicism and Romanticism), or because they come to stand for a particular national temperament (think of Ravel and of the peculiar notion that France is somehow better connoted by Descartes and Racine than Rabelais and Montaigne), can become imprisoned by the stylistic prejudices of their interpreters. Which leads me to ask: just how much do you love Mozart? or Classicism for that matter? You know the precious wit, that desperate need to contain excitement within tonal boundaries that borders on the neurotic? Me, not so much and that's why I dislike Kempff: he has Beethoven in a Classicist stronghold and will not let go. Accordingly, you would expect Kempff to be at his fleet fingered best in the first twenty, the so called early period sonatas, and he is: light, airy, full of fresh air. In his hands, unsurprisingly, the Moonlight sounds less like a Romantic dawn than a brilliant return to Papa Haydn. But listen to his Appassionata: he is so eager, so forced and rushed that he betrays the nervousness of one who has entered a world he is not very comfortable in. And by disposition, he shouldn't be. He is only slightly more convincing in the late sonatas which, as Rosen has shown, mark indeed a fascinating return to Classicism but even here Kempff is so hungry for the light that he misses the shadows and fails to achieve the required gravitas. For this I cannot forgive him and nor should I. Because, for me as for others, the Beethoven of the middle to late periods, of the Rasumovsky quartets and the Grosse Fugue, of the Waldstein and the Hammerklavier, a Beethoven very much of the nineteenth century in other words, is Beethoven in full caps. So if while listening to Beethoven you're somehow led to wonder about Schubert or Schumann, avoid this set like the plague. Buy the remarkable Arrau instead, or Pollini for the late pieces. If instead you dream of Mozart, Kempff will not fail you.
 
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