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Complete Piano Sonatas Box set

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Product Details

  • Audio CD (Sept. 22 2009)
  • Number of Discs: 10
  • Format: Box set
  • Label: Universal Music Canada
  • ASIN: B002DZX96C
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: #16,774 in Music (See Top 100 in Music)
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Product Description

In 1992, Alfred Brendel set about recording every piano sonata by Ludwig van Beethoven. The beauty of those works and the legendary imaginative powers of Brendel combined to earn rapturous praise, and this new set brings all those magnificent performances together. Behold his transformative interpretations of these treasured piano sonatas: No. 8 in C Minor, Op. 13 "Pathetique"; No. 23 in F Minor, Op. 57 "Appassionata"; No. 15 in D, Op. 28 "Pastoral"; No. 21 in C, Op. 53 "Waldstein"; No. 17 in D Minor, Op. 31, No. 2 "The Tempest"; No. 14 in C Sharp Minor, Opt. 27 No. 2 "Moonlight"; No. 29 in B Flat, Op. 106 "Hammerklavier"; No. 26 in E Flat, Op. 81a "Les Adieux" , and more on 10 CDs!

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Most Helpful Customer Reviews on (beta) HASH(0x9f5eb72c) out of 5 stars 12 reviews
58 of 64 people found the following review helpful
HASH(0x9f16c30c) out of 5 stars Brendel's third & final Beethoven cycle Oct. 27 2009
By jsa - Published on
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I'm fond of Alfred Brendel's Schubert, Haydn and Mozart so when I had the opportunity to pick up this newly reissued set of Beethoven sonatas for just over $30 from an Amazon reseller, I grabbed it. Since I've spent thirty-plus years with the Arrau cycle, starting with the LP's, and also had the Schnabel set in my library, I admit that I have fairly fixed ideas about what the Beethoven sonatas should sound like. Arrau, born in Chile but for the most part trained in Germany, is often called cold, detached and analytical (i.e. "Germanic") in the studio; but I think this is dead wrong. His identification with the mythic-heroic elements in Beethoven is reflected in his playing, which is full of emotional depth - sometimes so much so that it is almost difficult to listen to. Brendel, too, is often referred to as an intellectual pianist, which I suppose implies that his playing lacks emotional depth; but after listening to his survey of Beethoven sonatas, I think this assessment is also wrong. It's true that Brendel may not project the same level of suffering that Arrau sometimes finds in these scores (and this may be a relief at times), nor does he reach the celestial heights scaled by Arrau; he instead, however, favors structure and the working out of various ideas, which doesn't make him any less Beethovenian. Perhaps the best way to differentiate the two is to describe Arrau's orientation as "Romantic" whereas Brendel is more of a "Classicist."

There are many moments in these sonatas where Brendel's playing seems scaled down compared to Arrau's and you often end up thinking he's missed an opportunity to make a statement. Arrau, on the other hand, has often been accused of excessive point-making; and while Brendel too can belabor a point, he doesn't often go to Arrau's length. But it is in the process of reaching for the stars that Arrau, who may occasionally reach too far, reveals more of Beethoven's conflicted/spiritual aspects and no doubt, more of himself as well.

The sound-world of these pianists also comes into play. Arrau is plush and organ-like and while very modern in his playing still incorporates rhetorical flourishes that are reminiscent of the 19th century giants from whom he descended (Arrau's only teacher was Martin Krause, the last pupil of Liszt). This is especially evident in his traversal of the late sonatas, which to my way of thinking, has never been surpassed. Brendel is more compact, if not austere, in his playing which has a bell-like ring to it (if you could call him a descendant of anyone, it would be Kempff). Sometimes he makes a clipped ratta-tat-tat sound, as in the rondo of the Waldstein sonata, where Arrau's pianistic finish is just more sophisticated. And there is a tendency toward the finicky that can be bothersome (opp. 7 and 28 are representative). Yet Brendel's playing can also have an unsettling rattling element which makes his performance of the Moonlight sonata one of the best I've heard. This same rattling effect can be heard in the Tempest sonata, which is also excellent.

Let me say that I was prepared to be disappointed from the outset after listening to the first two sonatas (op. 2 nos. 1 & 2), which are missing the joy of early Beethoven and lend credence to the "cerebral" label so often attached to Brendel. Certainly these sonatas are well thought out, perhaps even a little too well thought out as they have a calculated feel to them. Opus 2, no. 3, on the other hand, sparkles. There are ups and downs from this point on as not everything is equally inspired - indeed, there is no ideal set of Beethoven sonatas. Sonatas no. 5 and 6 are from recitals and both succeed very well (too bad the applause wasn't edited out though). And Brendel really shines in the two op. 14 sonatas and also in op. 22. Perhaps his matter-of-fact treatment of the funeral march from the the op. 26 sonata is a little lightweight, missing the gravitas that Arrau brings to it. Missing too is the contrast that Arrau draws between this movement and the sunlit finale. His insistent finding and/or infusion of meaning is in contrast to Brendel's more straightforward approach, which doesn't lack imagination but sometimes just doesn't reach the same high level of inspiration. A case in point is the second movement of the thirteenth sonata, one of my favorites, which Brendel efficiently dispatches, but which the visionary Arrau transforms into a statement of kaleidoscopic proportions. There is simply no comparison between the two. Having said that, let me point out that Brendel is far from superficial - in fact, his sonatas are for the most part well balanced and sometimes can be a refreshing tonic to Arrau's persistent inwardness.

I was pleasantly surprised by Brendel's readings of the late sonatas. The Hammerklavier, recorded live(!), is outstanding, as is his reading of op. 101. He also turns in a fine op. 111, sounding, in fact, very much like Arrau. I was less taken with op. 109 where some of the phrasing is too plain - but I recall Harris Goldsmith calling Arrau's phrasing in the late sonatas "Furtwanglerish" (which was meant to be a pejorative) and even though his readings may border on overstatement, to me they are infused with an epic grandeur that has never been equaled.

In summary, if you are looking for a Beethoven cycle in digital sound that reflects the Kempff style of playing, then you'll be satisfied with Brendel.
8 of 8 people found the following review helpful
HASH(0x9f18d6a8) out of 5 stars Better than the 1970's set (but not always) Jan. 20 2014
By OClaw - Published on
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I recently bought this set and listened to sonatas 1 through 32 over the course of several days. I also have Brendel's 1970s set, and there are obvious differences. The sound quality of the new set is superior. The performances are generally superior with the new set, but not uniformly. It would be impracticable to attempt to catalog the performance differences in quality as they vary not just from sonata to sonata, but from movement to movement, and even within passages within movements. Further complicating things for my own evaluations is that over time I may change my opinion.

The overall effect of the new set is positive enough to warrant recommendation to anyone who does not have a specific distaste for Brendel, but not quite enough to say toss the old set. I have a feeling I'll enjoy comparing these two sets for a long time. If I had to recommend one over the other I would choose the new set. Having both is better than either one alone. Of course, whether the reader of this review would agree with anything written here is another matter. I suggest listening to sample clips.

One thing I'll say for Brendel is that he gives me the impression of an astonishing degree of control of touch, and an uncanny feel for utilizing the sound of the notes after striking them. Once a key is struck on a piano, nothing can be done with it except to lift off the key or pedal to silence it. But a skilled solo pianist can play with these voices like a good chamber player uses the sounds of other players in combination with his own to sculpt something beautiful. One example of this is what Brendel does in the first movement of Waldstein at bar 68 where the shimmering quasi trill line emerges from the decay of the emphasized fp strike of the left hand on the first beat. It may be that the first note on bar 68 is held a bit longer than the text warrants, but I don't care. The notes that follow are made even more effective in the wake of the decay, and the effect impressed me. However, other listeners might react very differently to what Brendel does with the music, so again I would urge the curious reader of reviews to seek out audio clips to sample.
15 of 20 people found the following review helpful
HASH(0x9f172054) out of 5 stars Tha last Beethoven cycle recorded by Brendel Oct. 24 2009
By Siena - Published on
Verified Purchase
This is the last set of Beethoven piano sonatas recorded by Brebdel and probably the best. It was recorded in digital sound.
It is true it was recorded for Philips (Brendel second set for Philips), but after Universal bought Philips, the time to use "Philips" brand name was limited and it seems all the back catalogue from Philips will appear under Decca lebel (or DG).
This set is excellent and at its time won the best prices from specialised critic.
HASH(0x9f1690c0) out of 5 stars Inspirational playing Aug. 15 2015
By Madame de Pompadour - Published on
Brendel's interpretation of Beethoven is beautiful and sensitive. He picks up every nuance of the music and I felt as if I was listening to Beethoven himself. His knowledge of the music is unsurpassable. A wonderful CD set.
25 of 40 people found the following review helpful
HASH(0x9f16cf30) out of 5 stars Who's the idiot at Amazon who called the great Brendel "infamous"? Oct. 6 2009
By Mataro - Published on
"Infamous" means known widely and unfavorably. Which is hardly the case here. Until he retired last year, Brendel's live performances were known widely and favorably for decades, and his studio releases are pretty magnificent, too. Brendel recorded the complete Beethoven piano sonata cycle three times, an early version for Vox, this Decca set and a later Philips version. Although the sonics of this version can be pretty hissy, it's still my favorite. It would have been nice to know whether any remastering was done here to improve the sound. Because Amazon's lsitings are frequently missing such useful information, I guess you could say their editors are infamous. ;)

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