Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 1 Allegro
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 2. Adagio
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 3. Menuetto. Allegretto
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 4. Prestissimo
Piano Sonata No. 2 In A, Op. 2 No. 2: 1. Allegro vivace
Piano Sonata No. 2 In A, Op. 2 No. 2: 2. Largo appassionato
Piano Sonata No. 2 In A, Op. 2 No. 2: 3. Scherzo. Allegretto
Piano Sonata No. 2 In A, Op. 2 No. 2: 4. Rondo. Grazioso
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 1. Allegro molto e con brio
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 2. Adagio molto
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 3. Finale. Prestissimo
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 1. Andante
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 2. Rondo. Allegro
Track Listings (9) - Disc #2
Piano Sonata No.3 In C, Op.2 No.3: 1. Allegro con brio
Piano Sonata No.3 In C, Op.2 No.3: 2. Adagio
Piano Sonata No.3 In C, Op.2 No.3: 3. Scherzo. Allegro
Piano Sonata No.3 In C, Op.2 No.3: 4. Allegro assai
Piano Sonata No.4 In E Flat, Op.7: 1. Allegro molto e con brio
Piano Sonata No.4 In E Flat, Op.7: 2. Largo, con gran espressione
Piano Sonata No.4 In E Flat, Op.7: 3. Allegro
Piano Sonata No.4 In E Flat, Op.7: 4. Rondo. Poco allegretto e grazioso
6 Piano Veriations In F On An Original Theme, Op.34
Track Listings (13) - Disc #3
Piano Sonata No.6 In F, Op.10 No.2: 1. Allegro
Piano Sonata No.6 In F, Op.10 No.2: 2. Allegretto
Piano Sonata No.6 In F, Op.10 No.2: 3. Presto
Piano Sonata No.7 In D, Op.10 No.3: 1. Presto
Piano Sonata No.7 In D, Op.10 No.3: 2. Largo e mesto
Piano Sonata No.7 In D, Op.10 No.3: 3. Menuetto. Allegro
Piano Sonata No.7 In D, Op.10 No.3: 4. Rondo. Allegro
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 1. Grave - Allegro di molto e con brio
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 2. Adagio cantabile
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 3. Rondo. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 1. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 2. Allegretto
Piano Sonata No.9 In E, Op.14 No.2: 3. Rondo. Allegro comodo
Track Listings (14) - Disc #4
Piano Sonata No.10 In G, Op.14 No.2: 1. Allegro
Piano Sonata No.10 In G, Op.14 No.2: 2. Andante
Piano Sonata No.10 In G, Op.14 No.2: 3. Scherzo. Allegro assai
Piano Sonata No.11 In B Falt, Op.22: 1. Allegro con brio
Piano Sonata No.11 In B Falt, Op.22: 2. Adagio con molta espressione
Piano Sonata No.11 In B Falt, Op.22: 3. Minuetto
Piano Sonata No.11 In B Falt, Op.22: 4. Rondo. Allegretto
Piano Sonata No.12 In A Flat, Op.26: 1. Andante con Variazioni
Piano Sonata No.12 In A Flat, Op.26: 2. Scherzo. Allegro molto
Piano Sonata No.12 In A Flat, Op.26: 3. Marcia Funebre sulla morte d'un Eroe
Piano Sonata No.12 In A Flat, Op.26: 4. Allegro
Piano Sonata No.25 In G, Op.79: 1. Presto alla tedesca
Piano Sonata No.25 In G, Op.79: 2. Andante
Piano Sonata No.25 In G, Op.79: 3. Vivace
Track Listings (13) - Disc #5
Piano Sonata No.13 In E Flat, Op.27 No.1: 1. Andante - Allegro - Tempo I
Piano Sonata No.13 In E Flat, Op.27 No.1: 2. Allegro molto e vivace
Piano Sonata No.13 In E Flat, Op.27 No.1: 3. Adagio con espressione
Piano Sonata No.13 In E Flat, Op.27 No.1: 4. Allegro vivace - Tempo I - Presto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 1. Adagio sostenuto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 2. Allegrettro
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 3. Presto agitato
Piano Sonata No.15 In D, Op.28 'Pastorale': 1. Allegro
Piano Sonata No.15 In D, Op.28 'Pastorale': 2. Andante
Piano Sonata No.15 In D, Op.28 'Pastorale': 3. Scherzo. Allegro vivace
Piano Sonata No.15 In D, Op.28 'Pastorale': 4. Rondo. Allegro ma non troppo
Piano Sonata No. 22 In F, Op.54: 1. In Tempo d'un Menuetto
Piano Sonata No. 22 In F, Op.54: 2. Allegretto
Track Listings (10) - Disc #6
Piano Sonata No.16 In G, Op.31 No.1: 1. Allegro vivace
Piano Sonata No.16 In G, Op.31 No.1: 2. Adagio grazioso
Piano Sonata No.16 In G, Op.31 No.1: 3. Rondo. Allegretto
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 1. Largo - Allegro
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 2. Adagio
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 3. Allegretto
Piano Sonata No.18 In E Flat, Op.31 No.3: 1. Allegro
Piano Sonata No.18 In E Flat, Op.31 No.3: 2. Scherzo. Alllegretto vivace
Piano Sonata No.18 In E Flat, Op.31 No.3: 3. Menuetto. Moderato e grazioso
Piano Sonata No.18 In E Flat, Op.31 No.3: 4. Presto con fuoco
Track Listings (7) - Disc #7
Piano Sonata No.21 In C, Op.53 'Waldstein': 1. Allegro con brio
Piano Sonata No.21 In C, Op.53 'Waldstein': 2. Introduzione. Adagio molto - Rondo. Allegretto moderato - Prestissimo
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Inroduzione col Basso del Tema. Allegretto vivace
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Variazioni I-XV
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Finale. Alla Fuga. Allegro con brio - Andante con moto
32 Piano Variations In C Minor On An Original Theme, WoO 80
Rondo In G, Op.51 No.2
Track Listings (12) - Disc #8
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 1. Allegro assai
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 2. Andante con moto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 3. Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 1. Adagio cantabile - Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 2. Allegro vivace
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 1. Das Lebewohl. Adagio - Allegro
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 2. Abwesenheit. Andante espressivo
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 3. Das Wiedersehn. Vivacissimamente
Piano Sonata No.27 In E Minor, Op.90: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Piano Sonata No.27 In E Minor, Op.90: 2. Nicht zu geschwind und sehr singbar vorgetragen
Piano Sonata No.20 In G, Op.49 No.2: 1. Allegro, ma non troppo
Piano Sonata No.20 In G, Op.49 No.2: 2. Tempo di Menuetto
Track Listings (8) - Disc #9
Piano Sonata No.28 In A, Op.101: 1. Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo
Piano Sonata No.28 In A, Op.101: 2. Lebhaft. Marschmassig. Vivace alla Marcia
Piano Sonata No.28 In A, Op.101: 3. Langsam, und sehnsuchtsvoll. Adagio, ma non troppo, con affetto
Piano Sonata No.28 In A, Op.101: 4. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 1. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 2 Scherzo. Assai vivace - Presto - Prestissimo - Tempo I
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 3. Adagio sostenuto. Appassionato e con molto sentimento
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 4. Largo - Allegro risoluto
Track Listings (8) - Disc #10
Piano Sonata No.30 In E, Op.109: 1. Vivave, ma non troppo - Adagio espressivo - Tempo I -2. Prestissimo
Piano Sonata No.30 In E, Op.109: 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
Piano Sonata No.31 In A Flat, Op.110: 1. Moderato cantabile molto espressivo
Piano Sonata No.31 In A Flat, Op.110: 2. Allegro molto
Piano Sonata No.31 In A Flat, Op.110: 3. Adagio ma non troppo
Piano Sonata No.31 In A Flat, Op.110: 4. Fuga. Allegro ma non troppo
Piano Sonata No.32 In C Minor, Op111: 1. Maestoso - Allegro con brio ed appassionato
Piano Sonata No.32 In C Minor, Op111: 2. Arietta. Adagio molto semplice e cantabile
Track Listings (33) - Disc #11
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Tema : Vivace - Variation I. Alla marcia maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation II Poco allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation III L'istesso tempo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IV Un poco piu vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation V Allegro vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VI Allegro ma non troppo e serioso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VII Un poco piu allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VIII Poco vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IX Allegro pesante e risoluto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation X Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XI Allegretto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XII Un poco piu moto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIV Grave e maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XV Presto scherzando
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVI Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVII
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVIII Poco moderato
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIX Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XX Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXI Allegro con brio - Meno allegro - Tempo I - Meno allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXII Allegro molto alla 'Notte giorno faricar' di Mozart
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIII Allegro assai
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIV Fughetta. Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXV Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVI
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVIII Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIX Adagio ma non troppo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXX Andante sempre cantabile
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXI Largo, molto espressivo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXII Fuga. Allegro - Poco adagio
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXIII Tempo di minuetto moderato
Track Listings (6) - Disc #12
Piano Concerto No.1 In C, Op. 15: 1. Allegro con brio
Piano Concerto No.1 In C, Op. 15: 2. Largo
Piano Concerto No.1 In C, Op. 15: 3. Rondo. Allegro scherzando
Piano Concerto No.2 In B Flat, Op.19: 1. Allegro con brio
Piano Concerto No.2 In B Flat, Op.19: 2. Adagio
Piano Concerto No.2 In B Flat, Op.19: 3. Rondo. Molto allegro
Track Listings (6) - Disc #13
Piano Concerto No.3 in C minor, Op.37: 1. Allegro con brio
Piano Concerto No.3 in C minor, Op.37: 2. Largo
Piano Concerto No.3 in C minor, Op.37: 3. Rondo. Allegro
Piano Concerto No.4 In G, Op.58: 1. Allegro moderato
Piano Concerto No.4 In G, Op.58: 2. Andante con moto
Piano Concerto No.4 In G, Op.58: 3. Rondo. Vivace
Track Listings (6) - Disc #14
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 1. Allegro
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 2. Adagio un poco mosso
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 3. Rondo. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 1. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 2. Largo
Triple Concerto For Piano, Violin And Cello In C, Op.56: 3. Rondo alla Polacca
Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played ... more »the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find. Arrau's devotion to Beethoven is memorialized by this budget-priced, 14-CD collection of his recordings, mostly from the 1960s, of the composer's 32 sonatas, five concertos (with Bernard Haitink conducting the Concertgebouw Orchestra of Amsterdam), and most important sets of variations. His Beethoven is not always successful. His sometimes ponderous seriousness keeps early works, such as the Sonata No. 3 and the Concerto No. 2, from smiling, and his lack of spontaneity makes the whimsy in Sonata No. 26 and the "Diabelli Variations" sound labored. But in the composer's weightiest works, Arrau can produce revelations. Certainly, no one plays Sonata No. 32 better. The first movement sounds like thunder that comes ever closer and the finale's chains of trills, played with exquisite finish and expressive perfection, transport the listener to a higher realm. If Arrau could be single-minded in his devotion to the composer's score, he also believed that music could encompass everything. When Arrau was at his best--as he frequently is in this set--it does. --Stephen Wigler« less
Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find. Arrau's devotion to Beethoven is memorialized by this budget-priced, 14-CD collection of his recordings, mostly from the 1960s, of the composer's 32 sonatas, five concertos (with Bernard Haitink conducting the Concertgebouw Orchestra of Amsterdam), and most important sets of variations. His Beethoven is not always successful. His sometimes ponderous seriousness keeps early works, such as the Sonata No. 3 and the Concerto No. 2, from smiling, and his lack of spontaneity makes the whimsy in Sonata No. 26 and the "Diabelli Variations" sound labored. But in the composer's weightiest works, Arrau can produce revelations. Certainly, no one plays Sonata No. 32 better. The first movement sounds like thunder that comes ever closer and the finale's chains of trills, played with exquisite finish and expressive perfection, transport the listener to a higher realm. If Arrau could be single-minded in his devotion to the composer's score, he also believed that music could encompass everything. When Arrau was at his best--as he frequently is in this set--it does. --Stephen Wigler
CD Reviews
One of many Beethoven 32+ you could call "The Best"
R. Lane | Tracy, CA USA | 04/04/2004
(5 out of 5 stars)
""Great Music!" can sound equally stunning and magnificent in the hands of many diverse interpreters. Beethoven's 32 piano sonatas certainly make a good case to be classified as "Great Music!", and the variety of recordings of the entire 32 is more than ample evidence for such a classification. This set features recordings made in the 1960s by the Chilean pianist Claudio Arrau, and supplements the sonatas with the complete concertos and some variations. Arrau is very thought provoking and exploratory in his readings. This is not Beethoven for the light hearted. The readings feature a wide dynamic range and emotional expressiveness. You are ever aware that it is not just Beethoven's thoughts that are being expressed in the playing; Arrau's own feelings are as ever present as the composer's. I agree with one reviewer who finds Arrau a little lacking in the scherzos. But, I can easily dismiss the shortage of "playfulness" in some moments when I get interpretations that fathom some of the great depths this music has to it.
No one cycle of the 32, in my opinion, can lay claim to be superior over all others, even in any one of the sonatas. I would not want to be without this set. But then, I also would not want to be without Kempff, Brendel, Schnabel, or Gilels either. All have equal strong merit.So if you could only choose one, why might you choose this set? If you are a great fan of Schumann, Brahms, and perhaps Schubert, then you will likely find these performaces more fitting. They look forward to the future that Beethoven certainly paved the way for, a future that was more expressive and expansive. If you are a fan more of Mozart and Haydn, you may find the readings a bit heavy and introspective. Also, consider this set if you want one stop for the sonatas, concertos, and variations. The concertos, another genre of Beethoven's works deserving of the "Great Music!" designation, are given similarly unforgettable Arrau performances with Haitink and the Concertgebouw Orchestra. I find myself listening to the Eroica variations in this box more than anything else. The audio recording is not of the demonstration-quality that the Gilels has, but Arrau plays with more herioc feeling and captures the sense of occasion in the work in a way Gilels seems to miss entirely.Philips has pulled off one of their best remastering jobs with this compliation. The boxed set was released shortly before Philips started their award-winning "Philips 50" series of reissues. The care taken with these Arrau remasterings makes me suspect they were a sort of "tune up" for the bigger and more publicized project that was to follow.The documentation is decent but not exhaustive. One minor quibble is with the box. It is just a wee bit too small for the disks and booklet to fit comfortably. The price is very low on a per disk basis."
Essential Arrau, essential Beethoven
R. Lane | 03/10/2004
(5 out of 5 stars)
"I have been living with the Arrau/Beethoven sonatas for over 30 years beginning with lp's pressed in the U.S., then imported from Holland, then the initial cd's & now this remastered cd box set. The latest technology brings additional life and timbre to Arrau's miraculous sound so I highly recommend this latest incarnation of what are indisputably great Beethoven recordings. As other reviewers have observed, not all of Arrau's treatments are equally inspired; but the overall level of playing & interpretation is so remarkable that there isn't much to quibble with. The primary complaint that one reads about Arrau is that he frequently played too slowly. (Conversely it can be said that Schnabel, the yardstick by which all Beethoven pianists have been measured for 75 years, often played too fast. His slow movements were divine, his fast movements could obliterate the music.) While Arrau did sometimes sound too deliberate in certain pieces of music which his temperament seemed ill-suited for (the Chopin waltzes come to mind), the fact remains that he was an enormously insightful and imaginative artist who often played with tremendous passion. Many of his interpretations include plenty of fireworks where appropriate, however others were so sublime that only experts were aware of how his gigantic technique was seemingly effortlessly employed in extremely difficult passages. (Contrary to one reviewer's statements that appear below, his playing was neither "messy" on disc nor in any of the numerous recitals I attended.)The supreme statements of Arrau's Beethoven can be heard in the Appassionata and the late sonatas, especially the Hammerklavier. The Funeral March, Pastoral, Les Adieux, Waldstein & Tempest sonatas are also outstanding as are the Eroica and C minor variations. Many of the early sonatas sparkle as well. Out of the 32 sonatas, only one is disappointing: the Moonlight whose final movement is curiously flat. Much comment has been made on Arrau's reading of op.111. I find that the opening bars which he positions with such grandeur almost border on overstatement, something which Arrau must have re-thought as his approach on a reading on a BBC dvd filmed ca. 1970 is tighter. My recollection of his performance in concert (1971-2) is that the opening statement was also somewhat less rhetorical but still very effective. In summary, the cd reading is one of overwhelming power.There are so many high points in these recordings (the fourth concerto is stupendous) that it would take far more words than are allotted by Amazon to cover them all. In short: immensely satisfying music that will lead the listener to a new appreciation for Beethoven."
UNRESERVEDLY RECOMMENDED
Wade Nelson | Calgary, Alberta Canada | 07/13/2004
(5 out of 5 stars)
"This set should be considered indispensable by all lovers of the piano and/or Beethoven. I won't bother anyone with a review of any particular performance. It is enough to list a few of the many virtues of this set.VALUE
It may seem like a lot of money but consider that you get over 1,000 minutes spread over 14 CD's.INTERPRETATION
In my view, Arrau was the greatest interpreter of Beethoven of his generation. I will never forget seeing him perform the Emperor. Some may object to the languid tempi but to my ear, they are just right. The arietta of op.111 is sublime.RECORDING
There is some faint background noise and hissing, but pay no attention. For the age of the recordings, the Philips' engineers have done an outstanding job.My only complaint (and it is very small) is that the liner notes do not do the set the treatment it deserves. Barely 5 pages with few insights seems odd, to be charitable about it.Nevertheless, a treasure to enjoy over and over again. Unreservedly recommended."
A fantastic set with tremendous personality and insight
hjonkers | The Netherlands | 08/28/2003
(5 out of 5 stars)
"Claudio Arrau's Sonatas set is one for the ages. It is thoughtful, musically honest and inspired like no one else's. True, it took me some time to realize this. But I've come to like Arrau's interpretations, more than any other pianist's. I don't think it would right to talk about 'the best' Beethoven cycle, as there isn't just one perfect way to the top, but so far I consider Arrau's performances deeper and more satisfying than anyone else's. He is unmatched in revealing the essence of the sonatas, and no one can hold a candle to Arrau's injections of drama in fairly every piece. It is indeed as if you're living through the sonatas yourself, as one other reviewer said.
Arrau takes a very serious, almost dark and tragic, approach to the sonatas. He may miss some of the music's humor because of that, but on the whole the effect is very rewarding. On paper it may seem that Beethoven's earlier works do not profit from Arrau's approach, but it's not true in reality. He performs these pieces as if they are just as important as the later works, and hearing him I can only prove him right. I've not yet heard anyone who makes these sometimes ignored pieces so interesting and powerful. The serious weight he gives to the very first sonata is amazing, especially in the last movement. The op.7 sonata is much more than just a pretty dancing piece. And even in the normally sunny second sonata, its dark sides are most significant in Arrau's performance. The fifth sonata is played quite slowly but with so much content and attention to every moment that it is just breathtaking. Overall, Arrau's bold and thoughtful playing reveals a great amount of hidden treasures in these sonatas and lets every phrase sing with great beauty.
Beethoven's middle-period works like the Moonlight, Tempest, Waldstein and Appassionata are in equally superb hands, especially in the Appassionata whose outer movements are greatly intimidating and violent. No one quite captures the torrent towards the end in the Appassionata's final as powerfully as Arrau does here, although Pollini's live recording comes close. Arrau's Waldstein is notable for its unusually slow first movement that yet remains fascinating all the way through. His Moonlight made me listen again to this piece that I got bored of a little. I don't think the Moonlight's last movement is weak, as others say. Maybe it doesn't live up to the extreme standards of the rest of the set, but even then it is among the better renditions. Again, the more humorous pieces of this period are less swift and surprising than in other's renditions. The final of the op.31/3 'Hunt' sonata gives no single reason to laugh. But Arrau fills the gap with so much furious power and intensity that I strongly doubt which approach to prefer. The final of Les Adieux is heaven-storming instead of the usual children's party treatment, and you may understand what I prefer.
And even after then, the highlight of the set hasn't been reached: the late sonatas get that honour. Arrau's arresting performance of op.101 is a hint of what's coming after: the Hammerklavier. This sonata has of course received many legendary performances (my own favourites are Solomon, Gilels, Pollini, Rosen, Brendel, Serkin, Gould and Kempff) but Arrau does better than any of them. Listen how carefuly he prepares the opening bars, for instance, and then dives headstrong into the movement. The Adagio Sostenuto gets the most somber rendition I've heard, and the fugue is a model of precise articulation combined with effortless and even technique.
The last three sonatas then, all sound completely different from other recordings. Arrau gives a highly personal performance of the theme and variations of op.109, rather mannered and all but still convincing in its own way. The last variation is one of the greatest moments of all Beethoven, and likewise it is one of the most memorable performances of Arrau. The op.110 sonata is on a similar scale, with the fugue played in total devotion and concentration. There may be some doubts over the rather slow first movement of op.111, but Arrau leaves every bit of drama intact--in fact, I find that the slower tempo even adds to the intensity. The Arietta, too, is on the slow side, but it makes full sense, although I'd prefer a more rhytmical 3rd variation. Yet what follows is as heavenly and moving as any performance of this piece could become (notice the short stop he makes in between the leggieramente figures around 11.00; just brilliant!), not to mention the incredible trills near the end.
Again, the set may not seem as good at first. Arrau misses most of Beethoven's humor, and his playing is a little slow and careful at times. But that's just the surface. Beneath, there is an immense amount of fantastic insights waiting. Arrau's early sonatas sound like they have got a repainting, and a superb one at that. The middle-period pieces get an intensely tragic and dark treatment, and the late sonatas are played quite originally and among the most profound and spirited recordings ever made. I doubted first, but now I simply love this set more than fairly any other recording I have. Regarding the comments of other reviewers here, I doubt if many will disagree. There are other ways to play Beethoven--Brendel and especially Kempff are more lucid, Schnabel generates more excitement, etcetera. But this is a Beethoven sonata set for the ages, a great investment if there ever was one. I've heard people say Arrau is the Furtwangler of the keyboard. I don't think that's right. It's better to say that Furtwangler is the Arrau of the directors."
24 Bit Sublime Ecstasy
R. W. | Oregon | 06/09/2005
(5 out of 5 stars)
"Everything glorious I read about Claudio Arrau in these Amazon.com reviews is absolutely true. My CD set arrived this morning, and I just finished listening to Sonata No. 1. I never paid much attention to it before, but Arrau plays each note with such passion, clarity, and sensitivity that it sounds like one of the greatest works - simply because he plays it that way.
I didn't realize when I ordered this set that Philips had remastered the music with 24 bit A/D transfer, so the sound quality is glorious.
By the way, there is also a 7 CD box set of Arrau playing Chopin. After hearing his Beethoven, I can't wait for my copy of Arrau's Chopin to arrive!"