Pretty quick, pretty specific about how quick too; but Isserlis and Levin are also thoughtful in ensuring that the running triplets for the keyboard aren’t reduced to a frantic, unchecked clatter. 02:53 02. One thing’s for sure: never before has this indelible masterpiece sounded more like a profound precursor of Paganini... Jascha Heifetz vn NBC Symphony Orchestra / Arturo Toscanini. As to their pooled tone, the overall impression is lean but expressive, with sweetness kept within bounds and only András Fejer’s cello occasionally sounding reticent. But then in a sense he was fortunate. Yet there is a satisfying body to the string sound, too. The following minor-key variation shows how both players can bring flexibility and fluidity to their performance, with the confidence that they will be sympathetically accompanied. This is a big, affable, blustery Triple, the soloists completing the sound canvas rather than dominating it, a genuine collaborative effort. Recordings Complete ... Cuarteto de cuerda n.° 6, op. A notable example is her cadenza in the finale (track 5, 6'20"). Hours of unrecorded, unpublished and unknown Beethoven works at, “The three greatest composers are Bach, Beethoven and Brahms. Think of repose in C major for 27 bars until the switch to the main movement; and the sudden shock of a fortissimo chord in A minor is ruder than it would be on a modern piano. Robert Layton (January 1978). Karl Böhm’s Beethoven is a compound of earth and fire. The reading is weighty but graceful, with a most beautifully phrased Andante (worthy of a Furtwängler), a bold Minuet and a thrilling finale. Try the first movement of Op 18 No 2 at 3'56": this could be one person playing.The qualifying ma non tanto of the C minor’s opening Allegro is pointedly observed: dramatic impact is sustained while composure is maintained. Less rugged than, say, Serkin, such playing is no less personal and committed. Riccardo Chailly’s first recorded Beethoven cycle shows him to be a Classicist through and through. Recover from the onslaught and return to the beginning, to Op 5 No 1. The American completes his nine-year project to record all 32 sonatas. The perfect civility of Perahia’s playing is a joy, the deeply felt slow movements particularly rewarding (try that of the Fourth, following the choice of the longer of the two cadenzas for the first movement) ... Till Fellner pf Montreal Symphony Orchestra / Kent Nagano. Contemporary incredulity at the sheer scale and complexity of the fugue caused Beethoven to offer a simpler alternative finale (the last thing he wrote) in which the Takács again play the repeat, which helps balance the ‘alternative’ structure.The Takács evidently appreciate this music both as musical argument and as sound. Similarly halfway through Op 130’s Cavatina; and Op 131’s Scherzo gate-crashes the tale of the preceding variations. Few ensembles have characterised the A major’s cantering first idea as happily as the Tokyos do here, while the ethereal and texturally variegated middle movements anticipate the very different world of Beethoven’s “late” quartets. Robert Levin may be matchless in conveying the rhetoric of the extended piano opening but Andsnes manages to be lithe and spontaneous-sounding, and doesn’t overplay hints of melodrama – dangerously tempting with all those diminished sevenths scattered about. In the finales of this sonata and of the Kreutzer, Faust and Melnikov are slightly faster and more brilliant but Tiberghien and Ibragimova, with superb poise and control, appear more carefree and joyful. At times it is a model of lucidity, arguments and textures appearing as the mechanism of a fine Swiss watch must do to a craftsman's glass; yet the reading is also full of subversive beauty, the finely elucidated tonal shifts confirming Charles Rosen's assertion that Beethoven's art, for all its turbulence, is here as sensuous as a Schubert song. International licensing, Deutsches SymphonieOrchester Berlin / Robin Ticciati, I was much looking forward to getting my hands on this CD, having chosen Steven Osborne’s previous Beethoven sonata disc, featuring a dangerous and profound. The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental, vocal and opera. Perlman's first entry couId hardly be more deceptive, that ladder-like climb of spread octaves which many virtuosi (Anne-Sophie Mutter on DG for example) present commandingly, but which Perlman plays with such gentleness that he emerges almost imperceptibly from the orchestra. Richard Osborne (March, 1987), This is a great performance, steady yet purposeful, with textures that seem hewn out of granite. On his rival L'Oiseau-Lyre disc (3/86), also played with period instruments, Hogwood broadens the slow introduction in the Karajan manner. By Llyranor in forum Solo & Chamber Music, By manueelster in forum Solo & Chamber Music, By StlukesguildOhio in forum Recorded Music and Publications, By jesserj in forum Recorded Music and Publications, All times are GMT +1. Beethoven recovered, but knew he had come close to death. Elsewhere Romantics vie with the Classicists, while the temporisers, sailing under various flags of convenience, attempt assorted syntheses of their own. Music that’s so easy to muddle and arrest is here fierily played; Solomon at his lucid, quick-witted best. Which is not to say that the Budapest performance is a carbon copy of the Karajan. Then again the modulating sequences from 9’36”, so often crudely hammered home in rival versions, are stylishly shaped, the emphases properly focused, with Aimard clearly centre-stage. In such hands the final pages of Op 111 do indeed become “a drift towards the shores of Paradise” (Edward Sackville-West) and throughout all these performances you sense how “the great effort of interpretation” (Michael Tippett) is resolved in playing of a haunting poetic commitment and devotion. The second movement is spot on: as witty and exact a reading as you are likely to hear. Gulda was always at his best in the last three sonatas but his Decca Hammerklavier, for all its trimness and brilliance, rarely matches this one for impact, while the later Diabelli, although hugely energetic where needs be, is less relentless than Gulda’s airless later recording which made a brief appearance here on a Harmonia Mundi CD. That is what lies behind this extraordinary movement of op.132. However, Karajan's 1962 Berlin performance (from the DG set already mentioned) is even quicker and superior in articulation, Norrington plays the Eighth Symphony's third movement as a quick dance and makes excellent sense of crotchet = 126, a marking often regarded as being beyond the pale. Fleetness and elegance are very much to the fore in the Op 12 set, beauty of tone, too, especially in the First Sonata. The freshness of this set is remarkable. The recording is splendid. 'Kleiber, Erich': certainly. 18, Beethoven really started to mark his departure from the Classical Style epitomized by Haydn and Mozart. The recordings of Nos 30 and 32 date from 1951. ... Maria João Pires pf Swedish Radio Symphony Orchestra / Daniel Harding. They are a touch broader yet, paradoxically, a degree or two tauter.) So it is with the volume of Beethoven’s six string quartets Op. Few pianists since Solomon have come near to matching Gilels's ability to touch off the rapt, disburdened beauty of these lofty Beethovenian cantilenas. I was much looking forward to getting my hands on this CD, having chosen Steven Osborne’s previous Beethoven sonata disc, featuring a dangerous and profound Hammerklavier, as my Critics’ Choice in 2016. Moonlight Sonata. Review of Vol 3 - The Late Quartets: Late Beethoven is all about contrasts: prayer and play, structural logic and emotional candour, relative convention and daring.