Track Listing

Disc 1:

1. Piano Sonata No. 1 in F minor, Op. 2/1: I. Allegro
2. Piano Sonata No. 1 in F minor, Op. 2/1: II. Adagio
3. Piano Sonata No. 1 in F minor, Op. 2/1: III. Menuetto. Allegretto
4. Piano Sonata No. 1 in F minor, Op. 2/1: IV. Prestissimo
5. Piano Sonata No. 2 in A major, Op. 2/2: I. Allegro vivace
6. Piano Sonata No. 2 in A major, Op. 2/2: II. Largo appassionato
7. Piano Sonata No. 2 in A major, Op. 2/2: III. Scherzo. Allegretto
8. Piano Sonata No. 2 in A major, Op. 2/2: IV. Rondo. Grazioso
9. Piano Sonata No. 3 in C major, Op. 2/3: I. Allegro con brio
10. Piano Sonata No. 3 in C major, Op. 2/3: II. Adagio
11. Piano Sonata No. 3 in C major, Op. 2/3: III. Scherzo. Allegro
12. Piano Sonata No. 3 in C major, Op. 2/3: IV. Allegro assai

Disc 2:

1. Piano Sonata No. 4 in E flat major ('Grand Sonata'), Op. 7: I. Allegro molto e con brio
2. Piano Sonata No. 4 in E flat major ('Grand Sonata'), Op. 7: II. Largo, con gran espressione
3. Piano Sonata No. 4 in E flat major ('Grand Sonata'), Op. 7: III. Allegro
4. Piano Sonata No. 4 in E flat major ('Grand Sonata'), Op. 7: IV. Rondo. Poco allegretto e grazioso
5. Piano Sonata No. 5 in C minor, Op. 10/1: I. Allegro molto e con brio
6. Piano Sonata No. 5 in C minor, Op. 10/1: II. Adagio molto
7. Piano Sonata No. 5 in C minor, Op. 10/1: III. Finale. Prestissimo
8. Piano Sonata No. 6 in F major, Op. 10/2: I. Allegro
9. Piano Sonata No. 6 in F major, Op. 10/2: II. Allegretto
10. Piano Sonata No. 6 in F major, Op. 10/2: III. Presto
11. Piano Sonata No. 7 in D major, Op. 10/3: I. Presto
12. Piano Sonata No. 7 in D major, Op. 10/3: II. Largo e mesto
13. Piano Sonata No. 7 in D major, Op. 10/3: III. Menuetto. Allegro
14. Piano Sonata No. 7 in D major, Op. 10/3: IV. Rondo. Allegro

Disc 3:

1. Piano Sonata No. 8 in C minor ('Pathétique'), Op. 13: I. Grave - Allegro molto e con brio
2. Piano Sonata No. 8 in C minor ('Pathétique'), Op. 13: II. Adagio cantabile
3. Piano Sonata No. 8 in C minor ('Pathétique'), Op. 13: III. Rondo. Allegro
4. Piano Sonata No. 9 in E major, Op. 14/1: I. Allegro
5. Piano Sonata No. 9 in E major, Op. 14/1: II. Allegretto
6. Piano Sonata No. 9 in E major, Op. 14/1: III. Rondo. Allegro comodo
7. Piano Sonata No. 10 in G major, Op. 14/2: I. Allegro
8. Piano Sonata No. 10 in G major, Op. 14/2: II. Andante
9. Piano Sonata No. 10 in G major, Op. 14/2: III. Scherzo. Allegro assai
10. Piano Sonata No. 11 in B flat major, Op. 22: I. Allegro con brio
11. Piano Sonata No. 11 in B flat major, Op. 22: II. Adagio con molta espressione
12. Piano Sonata No. 11 in B flat major, Op. 22: III. Menuetto
13. Piano Sonata No. 11 in B flat major, Op. 22: IV. Rondo. Allegretto

Disc 4:

1. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: I. Andante con varazioni
2. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: Var. I
3. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: Var. II
4. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: Var. III
5. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: Var. IV
6. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: Var. V
7. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: II. Scherzo. Allegro molto
8. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: III. Marcia funebre sulla morte d'un Eroe. Maestoso andante
9. Piano Sonata No. 12 in A flat major ('Funeral March'), Op. 26: IV. Allegro
10. Piano Sonata No. 13 in E flat major ('Quasi una fantasia'), Op. 27/1: I. Andante - Allegro - Tempo I -
11. Piano Sonata No. 13 in E flat major ('Quasi una fantasia'), Op. 27/1: II. Allegro molto e vivace -
12. Piano Sonata No. 13 in E flat major ('Quasi una fantasia'), Op. 27/1: III. Adagio con espressione -
13. Piano Sonata No. 13 in E flat major ('Quasi una fantasia'), Op. 27/1: III. - Allegro vivace
14. Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op. 27/2: I. Adagio sostenuto
15. Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op. 27/2: II. Allegretto
16. Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op. 27/2: III. Presto agitato - Adagio - Presto agitato
17. Piano Sonata No. 15 in D major ('Pastoral'), Op. 28: I. Allegro
18. Piano Sonata No. 15 in D major ('Pastoral'), Op. 28: II. Andante
19. Piano Sonata No. 15 in D major ('Pastoral'), Op. 28: III. Scherzo. Allegro vivace
20. Piano Sonata No. 15 in D major ('Pastoral'), Op. 28: IV. Rondo. Allegro ma non troppo

Disc 5:

1. Piano Sonata No. 16 in G major, Op. 31/1: I. Allegro vivace
2. Piano Sonata No. 16 in G major, Op. 31/1: II. Adagio grazioso
3. Piano Sonata No. 16 in G major, Op. 31/1: III. Rondo. Allegretto - Adagio - Presto
4. Piano Sonata No. 17 in D minor ('Tempest'), Op. 31/2: I. Largo - Allegro
5. Piano Sonata No. 17 in D minor ('Tempest'), Op. 31/2: II. Adagio
6. Piano Sonata No. 17 in D minor ('Tempest'), Op. 31/2: III. Allegretto
7. Piano Sonata No. 18 in E flat major ('Hunt'), Op. 31/3: I. Allegro
8. Piano Sonata No. 18 in E flat major ('Hunt'), Op. 31/3: II. Scherzo. Allegretto vivace
9. Piano Sonata No. 18 in E flat major ('Hunt'), Op. 31/3: III. Menuetto. Moderato e grazioso
10. Piano Sonata No. 18 in E flat major ('Hunt'), Op. 31/3: IV. Presto con fuoco
11. Piano Sonata No. 19 in G minor, Op. 49/1: I. Andante
12. Piano Sonata No. 19 in G minor, Op. 49/1: II. Rondo. Allegro
13. Piano Sonata No. 20 in G major, Op. 49/2: I. Allegro, ma non troppo
14. Piano Sonata No. 20 in G major, Op. 49/2: II. Tempo di Menuetto

Disc 6:

1. Piano Sonata No. 21 in C major ('Waldstein'), Op. 53: I. Allegro con brio
2. Piano Sonata No. 21 in C major ('Waldstein'), Op. 53: II. Introduzione. Adagio molto
3. Piano Sonata No. 21 in C major ('Waldstein'), Op. 53: II. - Rondo. Allegretto moderato - Prestissimo
4. Piano Sonata No. 22 in F major, Op. 54: I. In tempo d'un Menuetto
5. Piano Sonata No. 22 in F major, Op. 54: II. Allegretto - Più allegro
6. Piano Sonata No. 23 in F minor ('Appassionata'), Op. 57: I. Allegro assai - Più allegro
7. Piano Sonata No. 23 in F minor ('Appassionata'), Op. 57: II. Andante con moto
8. Piano Sonata No. 23 in F minor ('Appassionata'), Op. 57: III. Allegro ma non troppo - Presto
9. Piano Sonata No. 24 in F sharp major ('A Thérèse'), Op. 78: I. Adagio cantabile - Allegro ma non troppo
10. Piano Sonata No. 24 in F sharp major ('A Thérèse'), Op. 78: II. Allegro vivace
11. Piano Sonata No. 25 in G major ('Cuckoo'), Op. 79: I. Presto alla tedesca
12. Piano Sonata No. 25 in G major ('Cuckoo'), Op. 79: II. Andante
13. Piano Sonata No. 25 in G major ('Cuckoo'), Op. 79: III. Vivace

Disc 7:

1. Piano Sonata No. 26 in E flat major ('Les Adieux'), Op. 81a: I. Das Lebewohl (Les Adieux). Adagio - Allegro
2. Piano Sonata No. 26 in E flat major ('Les Adieux'), Op. 81a: II. Die Abwesenheit (L'Absence). Andante espressivo
3. Piano Sonata No. 26 in E flat major ('Les Adieux'), Op. 81a: III. Das Wiedersehn (Le Retour). Vivacissimamente - Poco andante - Tempo
4. Piano Sonata No. 27 in E minor, Op. 90: I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck (Con vivacità e sempre con sent
5. Piano Sonata No. 27 in E minor, Op. 90: II. Nicht zu geschwind und sehr singbar vorzutragen (Non troppo presto e molto cantabile)
6. Piano Sonata No. 28 in A major, Op. 101: I. Etwas lebhaft und mit der innigsten Empfindung (Allegretto, ma non troppo)
7. Piano Sonata No. 28 in A major, Op. 101: II. Lebhaft. Marschmässig (Vivace alla Marcia)
8. Piano Sonata No. 28 in A major, Op. 101: III. Langsam und sehnsuchtsvoll (Adagio, ma non troppo, con affetto) - Zaitmass des ersten S
9. Piano Sonata No. 28 in A major, Op. 101: III. - Geschwind, doch nicht zu sehr, und mit Entschlossenhelt (Allegro risoluto)
10. Piano Sonata No. 30 in E major, Op. 109: I. Vivace, ma non troppo - Adagio espressivo - Tempo I
11. Piano Sonata No. 30 in E major, Op. 109: II. Prestissimo
12. Piano Sonata No. 30 in E major, Op. 109: III. Andante molto cantabile e espressivo (Gesangvoll, mit innigster Empfindung)
13. Piano Sonata No. 30 in E major, Op. 109: III. Var. I. Molto espressivo
14. Piano Sonata No. 30 in E major, Op. 109: III. Var. II. Leggermente
15. Piano Sonata No. 30 in E major, Op. 109: III. Var. III. Allegro vivace
16. Piano Sonata No. 30 in E major, Op. 109: III. Var. IV. Un poco meno andante, cioè, un poco più adagio del tema (Etwas langsamer als d
17. Piano Sonata No. 30 in E major, Op. 109: III. Var. V. Allegro, ma non troppo
18. Piano Sonata No. 30 in E major, Op. 109: III. Var. VI. Tempo I del tema (Cantabile)

Disc 8:

1. Piano Sonata No. 29 in B flat major ('Hammerklavier'), Op. 106: I. Allegro
2. Piano Sonata No. 29 in B flat major ('Hammerklavier'), Op. 106: II. Scherzo. Assai vivace - Presto - Tempo I
3. Piano Sonata No. 29 in B flat major ('Hammerklavier'), Op. 106: III. Adagio sostenuto
4. Piano Sonata No. 29 in B flat major ('Hammerklavier'), Op. 106: IV. Largo - Allegro - Prestissimo - Allegro risoluto (Fuga a tre voci
5. Piano Sonata No. 31 in A flat major, Op. 110: I. Moderato cantabile, molto espressivo
6. Piano Sonata No. 31 in A flat major, Op. 110: II. Allegro molto
7. Piano Sonata No. 31 in A flat major, Op. 110: III. Adagio, ma non troppo -
8. Piano Sonata No. 31 in A flat major, Op. 110: III. - Adagio ma non troppo - Arioso dolente
9. Piano Sonata No. 31 in A flat major, Op. 110: IV. Fuga. Allegro ma non troppo -
10. Piano Sonata No. 31 in A flat major, Op. 110: IV. - L'istesso tempo di Arioso -
11. Piano Sonata No. 31 in A flat major, Op. 110: IV. - L'istesso tempo della Fuga poi a poi di nuovo vivente - Meno allegro

Disc 9:

1. Piano Sonata No. 32 in C minor, Op. 111: I. Maestoso - Allegro con brio ed appassionato
2. Piano Sonata No. 32 in C minor, Op. 111: II. Arietta. Adagio molto, semplice e cantabile - L'istesso tempo
3. Bagatelles (11) for piano, Op. 119: I. Allegretto (G minor)
4. Bagatelles (11) for piano, Op. 119: II. Andante con moto (C major)
5. Bagatelles (11) for piano, Op. 119: III. à l'Allemande (D major)
6. Bagatelles (11) for piano, Op. 119: IV. Andante cantabile (A major)
7. Bagatelles (11) for piano, Op. 119: V. Risoluto (C minor)
8. Bagatelles (11) for piano, Op. 119: VI. Andante (G major)
9. Bagatelles (11) for piano, Op. 119: VII. Allegro, ma non troppo (C major)
10. Bagatelles (11) for piano, Op. 119: VIII. Moderato cantabile (C major)
11. Bagatelles (11) for piano, Op. 119: IX. Vivace moderato (A minor)
12. Bagatelles (11) for piano, Op. 119: X. Allegramente (A major)
13. Bagatelles (11) for piano, Op. 119: XI. Andante, ma non troppo (B flat major)
14. Bagatelles (6) for piano, Op. 126: I. Andante con moto (G major)
15. Bagatelles (6) for piano, Op. 126: II. Allegro (G minor)
16. Bagatelles (6) for piano, Op. 126: III. Andante (E flat major)
17. Bagatelles (6) for piano, Op. 126: IV. Presto (B minor)
18. Bagatelles (6) for piano, Op. 126: V. Quasi allegretto (G major)
19. Bagatelles (6) for piano, Op. 126: VI. Presto - Andante amabile e con moto (E flat)

Product Details

• Amazon Sales Rank: #45576 in Music
• Released on: 2004-01-13
• Number of discs: 9
• Format: Box set
• Dimensions: .76 pounds

Customer Reviews

One of the best all-round Beethoven cycles
Beethoven was a composer with almost too many different moods, and all are exposed in the 32 Sonatas. Someone who wants to tackle all 32 successfully should have the ability to give every piece its own voice. I think many pianists simply didn't have it, in the past as well as nowadays. Schnabel was great in the adagios, but a bit nervous in the faster movements. Barenboim bangs. Goode is all a bit too easy. Serkin can be too dry (in the ones he recorded anyway). Richter never recorded all. Some do have it all: Brendel, Kempff, Arrau all provide for great cycles that really make a 'complete' point.

And here then is Kovacevich, whose cycle I'd easily count alongside those three. I think he's in nature someone who wants to present a quite severe and angry Beethoven. But, unlike the others, he does not fall into the trap of seriousness when playing Ludwig's more humorous creations.

Kovacevich is at his best when he can create excitement. He performs lots of sonatas with much Sturm und Drang, and power, but he knows when to stop. His playing in the music is often gentle and lyrical (very faithful to Beethoven's original text by the way, unlike many others), but when Beethoven says to play `fortissimo' or `agitato', Kovacevich really does so, that's all. His performances are often enormously exciting and thrilling to the top. Sonata no. 5, a bit overlooked, rages like a thunderstorm. It's really wonderful to hear the Pathetique, no.8, in such a solid and even threatening performance. The Presto of the Moonlight is an apocalyptical ride, which is quite contrasting to the measured and almost pretty performances I was used to. The Waldstein is overwhelming, with a great powerful attitude that serves the music well. And really, Kovacevich's Appassionata has to be a near-definitive version of this opus. Seldom has the work been performed with such an intimidating and aggressive attitude.

However, apart from all breathless excitement, Kovacevich's slow movements are also very special. He does not exaggerate anything here, but plays most slow parts in a rather intimate and expressive, yet not too heavy way. It's quite a difference from the insane action in the faster movements, but also a bit of a relief: as if the pianist is getting to a calm mood again after the storm. I read someone (maybe in Gramophone?) who said that Kovacevich is the only pianist able to forget about all and everything around him while playing. This is absolutely true. In the first movements of opus 101 and 110, the last of opus 109 and likewise things, he simply IS the music. His Largo of the 7th sonata for instance, is the fastest I have, but it's nothing worse than Arrau or Horowitz who play this piece extremely slowly. The Moonlight's Adagio is quite sober, but not less impressive. The Hammerklavier Adagio goes about 4 minutes faster than many other versions, which I found quite refreshing. I could go on for a long time about this, but it's enough to say the slow movements are terrific as well.

But we aren't finished yet. Beethoven also made some great fun in his music. Kovacevich does not hide it from us. In the Haydenesque sonata no.2, he is dancing, and the sonata no. 3 is lively and dancing even more. The final of sonata no.18 (`the Hunt') is played with a great `beat' and much joy. And listen to no. 25! So simple, yet so charming! Here Kovacevich excels just as he does in the heavier works.

I would like to pay some special attention to the late sonatas. These are every bit as good as Pollini's legendary recordings, and often even better. Opus 101 is unrestrained joy; the Hammerklavier provides some great new insights and tons of excitement, opus 109 and 110 are outstanding (the combination of the arioso and the fugue has seldom sounded so good; additionally, the fugue's conclusion is a blaze of sunlight), and the magnum opus is the last sonata. The first movement is absolutely breathtaking, and I've never heard anything like it before. The explosion of sound Kovacevich offers in the recapitulation of the first movement has to be heard to be believed. After the high-voltage pianism in the first part, Kovacevich plays the theme and variations with a serenity that is almost impossible. The jazzy third variation is performed not only with a great sense of rhythm, but also with intensity you'll rarely hear. The following scene is superbly silent and the final trills are enchanting. It's clear that Kovacevich wanted to makes this sonata his masterpiece, and he surely did.

Does he really have no weak moments? Well, you could argue that the first movement of the Hammerklavier is not as majestic as others present it, or that Op.101's March is too strong etc. And, admitted, Kovacevich's tone-colouring is not from the level of, say, Arrau and Michelangeli. But he has so much to offer in return, that I don't really care about that. Even if there are pieces that could be performed much better (I do not see many, to be honest), that would not make the set as a whole less impressive.

Kovacevich's early sonatas blossom: they're played with real ease and fun. The middle-period sonatas have great attitude and offer some of the most exciting piano-playing I know of. The late sonatas are enchanting, played in a most fair and sincere way. Just like Beethoven intended them when he composed the music. Kovacevich is certainly one of the greatest Beethoven players around, no doubt about that. Of course, there are many cases in which this-or-that pianist may play the so-and-so-sonata better than SK. But nearly every performance of a sonata Kovacevich takes under his hands is marvellous, and these add up to a marvellous set, one of my all-round favourites for sure.

It's All Here, and Then Some: A Romantic Feast
After growing familiar with Brendel's early set and many versions by Richter, Backhaus, Dochnanyi, Horowitz, Serkin, Ashkenazy, Kempff, Schnabel, Pollini, Rosen, Uchida and Gould, I decided I wanted a new set of all 32 sonatas. I listened and read reviews for over a year, gathering impressions of Barenboim, Arrau, Schnabel, Jando, Kovacevich, Goode, and more impressions of those I already knew - Ashkenazy, Kempff, Brendel and Backhaus. Beethoven is my favorite composer. Though I am delighted by "cornerstone" interpretations, I value an undistracting technique and good recorded sound.

Ultimately, I decided it was between Goode and Kovacevich. I listened to the excerpts on this website and chose. When the package arrived, I felt I had erred: I should have gotten Richard Goode's set. Nevertheless, I opened it and the die was cast. Kovacevich (nee Bishop) has been a constant source of wonder. These are stunning, insightful recordings that no excerpting on a computer can do justice. The criticism that all the sonatas are played the same way in this set is simply unjustified. I felt some of that when I listened to the little snatches available online, but when I took the time to play these at home on a good stereo, it was a completely different story. I was astonished and delighted. Every time I play one of these pieces, I feel I am hearing something totally new, but intelligently conceived and emotionally authentic and fulfilling. And he plays well! The first night, I stayed up late listening to four of these CDs in a row, all the way through. I still do that, but less now as I need the sleep. There is no musical wallpaper. And do not be fooled: Kovacevich has a sweet, exquisitely warm and tender side. This is not the 2-dimensional booming some have suggested.

I am content now to enjoy these for years to come. A rich reward of new insights, with gorgeous sound and amazing technique, is all one could ask. Can a piece of music be emotionally and intellectually voluptuous? I now believe so. These 9 CDs (the last is sonata 32 and a lot of delicious bagatelles) are a treasured part of my collection. I return now and then to other versions and am amazed at the new dimensions, first here, now there, that Kovacevich has added when compared to what I had thought were definitive performances. Of course, some of these old friends will never be replaced but the entire array of the sonatas is now far more interesting than ever before. That also applies to the late sonatas: to cite just one instance, he plays No. 30 more sweetly than anyone, including Pollini. It is something to revel in. Kovacevich offers a full array of emotional experiences. What most distinguishes this set is his profound integrity as an artist. The decisions he makes are invariably just to the music and bring out what was evidently there all the time in a way that surprises and delights. Listening with one preconceived version of how Beethoven should sound (e.g., "There is no one like (fill in the blank: Arrau, Kempff, Schnabel, etc.), period") may paralyze the best intentions. Kovacevich has the artistry to transcend the impressions of most opinionated listeners. As to the more mundane issues, the accompanying critical notes are very fine and the packaging not expensive but good and rather stylish in appearance. I also believe the price is fair. This is music to which I return with mingled pleasure, anticipation and reverence. Enjoy.

A Great, Fiery, Beethoven Sonatas Set
Along with Brahms's late piano works, Debussy, some Liszt, and The Chopin Nocturnes, The Beethoven Piano sonatas are among my very favorite solo piano listening. I already have the Schnabel set, all of the sonatas that Gilels recorded, and The Goodes. I love all of those for different reasons. Although I don't own the Kempes, I listened to that set repeatedly when I worked at a record store several years ago, and I find his tempos to be a little "samey." Kovacevich is perhaps my favorite pianist, largely on the strength of his recordings of late Brahms, the Brahms First Piano Concerto, and the Beethoven Concertos. After I bought the Goode set several years ago, which I still very much enjoy, I decided that I couldn't justify springing for another full set...but after reading some reviews here, of the full set, and the individual issues, I managed to track down a relatively inexpensive copy of this set, so I decided to make this my latest "last set" of the Beethoven Piano Sonatas...and this one may very will be it.

In the faster music, Kovacevich is fiery, passionate, and unabashedly romantic, but he never fails to find the poetry in the slower, more introspective, music. One of my personal favorites of the Beethoven Sonatas--not just the more famous, or "named" ones--is the Second, and Kovacevich's performance has replaced Gilels' as my favorite. I'm not going to give a detailed breakdown of several of the Sonatas. I just wanted to say how much I enjoy the set as a whole, and was completely dazzled by several movements, especially the famous first movement of the Waldstein, always a favorite pianistic showcase, and Kovacevich's account of that sonata has also become my new favorite. The only place where I noted not really liking his choice of a tempo was in the first movement of the Hammerklavier: I realize that Kovacevich's fast tempo is a valid interpretation, but, frankly, this sonata has never been very near the top of my list of personal favorites of "the 32," and I prefer a more majestic tempo for the first movement; imo, if it is done too fast it sounds kind of "cartoonish,"

Unless you just flat out don't like your Beethoven sonatas played with a bit more romantic flair and flexibility, I think you will very much enjoy this set. Although I can imagine myself not always being in the mood for Kovacevich's more intense interpretations--and for those times I will be glad to also have the Goodes--I feel that Kovacevich's virtuosity and style make this a tough set to beat. Great sound too.