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GoldLyrics.com - The Piano Sonatas: Vol. VIII
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List Price: $17.98
Our Price: $14.99
Your Save: $ 2.99 ( 17% )
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Manufacturer: ECM Records
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Average Customer Rating:  
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Binding: Audio CD
EAN: 0028947661924
Label: ECM Records
Manufacturer: ECM Records
Number Of Discs: 1
Publisher: ECM Records
Release Date: 2008-10-07
Studio: ECM Records
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Editorial Reviews:
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This is the eagerly awaited final instalment of András Schiff's acclaimed complete Beethoven cycle. Collectors can now finally explore the extraordinary interpretative and editorial qualities of this cycle in full.Schiff's much-admired art of musical characterisation is particularly evident in these last six sonatas that combine dramatic and symphonic grandeur with intimate beauty. As Schiff completed his Beethoven performances at the Tonhalle in Zurich where all 8 volumes have been recorded live, a journalist wrote "This was a Beethoven which transfixed the audience with its Apollonian balance, its subtly hued sonic and dynamic differentiation, depth of thought and technical command...The three sonatas sounded like a quintessence of pure late style, otherworldly as if made from precious marble" Schiff's reading of the musical texts is personal and charismatic, yet extremely thorough, offering many revealing new insights.
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Spotlight customer reviews:
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Customer Rating:
Summary: Schiff on Beethoven
Comment: Schiff spent twenty, yes 20 !!! years to study these Beethoven's 32 sonatas before he would record them and start giving recitals of the cycle. I happened to have the good fortune to be able to listen to every one LIVE that he performed so far. The last two installment will be in March and April, 2009.
The entire CD collection comprise of eight CDs. They are the best (on Beethoven's sonatas) so far. I have other complete sets. I am thinking of giving those away without regret. He is that good. Can't tell the difference between live and recording.
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Summary: András Schiff defines Beethoven's piano sonatas
Comment: This review refers to the eight volumes of András Schiff's cycle of Beethoven's piano sonatas released by ECM Records. The lay out of the volumes is as follows:
Vol 1: opp. 2 and 7
Vol 2: opp. 10 and 13
Vol 3: opp. 49, 14 and 22
Vol 4: opp. 26, 27 and 28
Vol 5: opp. 31 and 53
Vol 6: opp. 54, 57, 78, 79 and 81a
Vol 7: opp. 90, 101 and 106
Vol 8: opp. 109, 110 and 111
All recordings except those on the last volume are of live performances (from 2004 to 2006) in the Tonhalle Zurich in front of a very quiet audience. No coughing between movements, no applause at the end, and hardly any noise at all during performances. The last volume was recorded in the empty hall of the Reitstadel in Neumarkt, Germany. The sound quality is superb throughout. The separation of the channels is done so that you have the higher notes, located on the right hand side of the keyboard, in the right channel, and the lower notes in the left channel. Personally I find this the only acceptable way of organising piano music into a stereo recording. It gives you the impression of sitting in with the pianist.
Schiff's performances are of the highest order. He even manages to breathe new life into often-heard sonatas such as the Op 27-2, Moonlight. Pianists have not been able to agree on how to interpret Beethoven's instructions for the first movement of the Moonlight. Some, including Schiff, take Beethoven literally and push down the pedal for the entire movement (this and many other things is explained by Schiff in his Wigmore Hall lectures which are available for free download from the Guardian website). Gulda did the same in his 1950s cycle but not in his 1960s cycle. The result is mesmerising and beautiful. In addition, Schiff plays the Moonlight sonata at a slightly faster speed than what is commonly done, which makes for a fresh and contemporary take on this well-known piece.
No single cycle will probably satisfy you completely. I find much of Barenboim's playing on his 1960s cycle very odd but his performance of the Hammerklavier would follow me to a desert island. Gulda's 1960s cycle is mostly excellent (as is the sound, but one has to accentuate 'mostly' here because there are some awkward splices) but I can't think of any better way of starting your exploration of these magnificent works than by listening to Schiff's cycle. He has a sublime touch, a masterly control over his means and an artistic sensibility that will convince you that this is how Beethoven should be played. And it's all rendered in glorious sound. Highly recommendable.
Customer Rating: 
Summary: A matter of taste, but opus 111 sounds uninvolved
Comment: This, Schiff's final installment of his Beethoven cycle, is somewhat of a mixed bag. Every single one of first six installments offered uneven performances. On the lower end of the spectrum sit Schiff's interpretations of the opus 2 set, conceived on an overly broad and lyrical scale. Schiff missed the joy of opus 10/2. The second movement of opus 78 was absolutely devoid of the requisite humor necessary to pull off the work. And opus 31/3 received a particularly wooden performance. On the other hand, Schiff's opus 13 was not only the highlight of the second installment of the cycle, but is also one of the most convincing interpretations of the Pathetique on disc. Like his interpretation of the Pathetique, Schiff's conception of opus 57 eschews the hysteria of so many performances by focusing on the great architecture of the Appassionata. Schiff's finger work in the finales of opus 10/1, opus 27/2, and opus 81a is simply astounding. Schiff seventh outing, a performance of opus 90, 101, and 106, was simply astounding, especially in his transcendent performance of opus 101. The pedal work in the march was simply revelatory while the finale was sublime. Considering his success with opus 101 and 106, I though Schiff's studied and intellectualized interpretations would work well with the final trio of sonatas. However, I leave with a somewhat unpleasant aftertaste.
For one, I personally just do not like Schiff's interpretation of opus 111. It may, of course, be a matter of taste, but I find the performance somewhat whitewashed, plain faced, and four square. Schiff's tempo choice for the introduction is brisk and energized, instilling a sense of expectant drama. Bu the arrival of the allegro proper is a bit matter-of-fact. Schiff seems to minimize Beethoven's variations within the first-theme set, failing to highlight the juxtapositions between the questions and answers. As such, the second theme group looses it sense of transcendence, played here in a particularly straightforward way. There is simply a tepidness to the performance, a generalized lack of tension that pervades the first movement. And it is not Schiff's choice to focus on the movement's clearly classical proportions that keeps this performance so earthbound. Pollini's legendary performance certainly remained faithful to the score; Pollini, however, was able to highlight the drama without sacrificing form. Arrau and Goode's interpretations are more involved as well, while Schnabel, despite some minor finger slips here and there, probably betters them all. At a little over 18 minutes, Schiff's variations are at a flowing tempo and the arietta theme is nicely sung and phrased. However, after the proceeding movement's emotional listlessness, Schiff fails to capture that balm-like quality so necessary for this movement's success. The variations proceed well enough (although more humor in the syncopated third variation would have been nice) and there are some chilling moments in the movement's middle. However, the final passages are less a farewell than simply an end. Perhaps Schiff does not read this valedictory sonata as a goodbye and that certainly is a valid reading. Still, the fact of the matter is that opus 111 is Beethoven's last sonata, written before the Diabelli Variations and the final quartets. Had Beethoven had more to say in this medium, he certainly had the opportunity to pen another sonata. But he did not. And I, like many of the aforementioned pianists, view this work as a farewell and, consequently, prefer it as such.
The overtly more lyrical opus 109 fares somewhat better, as Schiff conjures up some truly magnificent sounds from his instrument. Opus 110 is equally fine, particularly in the delightfully mercurial central allegro. Still, on the whole, these performances are enveloped in an air of disinterestedness. Is the fact that this final recital, unlike the proceeding seven installments, was not recorded with an audience affect the performance on the whole? The electricity that was present in the previous recitals is conspicuously absent in this final go-around. Still, Schiff offers fascinating readings with many moments of touching beauty and a great sense of personal expression. Indeed, especially with the final sonatas, personal preferences will be the deciding determinant as to whether a performance is a winning one or not. And for many, Schiff's studied and intellectualized readings will strike a chord. I simply prefer a more involved performance of opus 111. The final variations should not simply sound beautiful, as they do here, but should shake one to the core. Again, a matter of preference, but a preference that matters, at least to me.
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