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Piano Sonatas 17, 18 & ,26
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Beethoven: Piano Sonatas Nos. 17, 18 & 26
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Track Listings
| 1 | Son No.17 in d, Op.31, No.2 ('Tempest'): I. Largo; Allegro |
| 2 | Son No.17 in d, Op.31, No.2 ('Tempest'): II. Adagio |
| 3 | Son No.17 in d, Op.31, No.2 ('Tempest'): III. Allegretto |
| 4 | Son No.18 in E flat, Op.31, No.3: I. Allegro |
| 5 | Son No.18 in E flat, Op.31, No.3: II. Scherzo: Allegretto Vivace |
| 6 | Son No.18 in E flat, Op.31, No.3: III. Menuetto: Moderato E Grazioso |
| 7 | Son No.18 in E flat, Op.31, No.3: IV. Presto Con Fuoco |
| 8 | Son No.26 in E flat, Op.81a ('Das Lebewohl'): I. The Farewell: Adagio; Allegro |
| 9 | Son No.26 in E flat, Op.81a ('Das Lebewohl'): II. Absence: Andante Espressivo |
| 10 | Son No.26 in E flat, Op.81a ('Das Lebewohl'): III. The Return: Vivacissimamente |
Product details
- Is discontinued by manufacturer : No
- Product Dimensions : 14.27 x 12.5 x 0.84 cm; 108.86 Grams
- Manufacturer : CBS
- Label : CBS
- ASIN : B0000026FS
- Number of discs : 1
- Best Sellers Rank: 612,913 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- 19,757 in Classical Solo Instrumental Music
- Customer reviews:
Customer reviews
4.9 out of 5 stars
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Reviewed in the United Kingdom on 22 April 2016
Good product and excellent service.
Reviewed in the United Kingdom on 5 May 2020
Murray Perahia's Beethoven interpretations are among the best. He captures magically the emotions and the moods of the three sonatas.
Even in the 'Vivacissimamente ' of the 26th sonata 'Les Adieux', he articulates perfectly the melodic line.
Not to be missed.
Even in the 'Vivacissimamente ' of the 26th sonata 'Les Adieux', he articulates perfectly the melodic line.
Not to be missed.
Reviewed in the United Kingdom on 29 December 2013
The reservations have to do with Perahia's account of the "Tempest" sonata, Op.31, No. 2 -- beautifully played as it is, it doesn't seem fraught with menace or disturbance, and I wondered if we had here evidence of a temperamental disinclination on Perahia's part to reveal the full expressive power of the music. I had the same question after listening to his account of the Schubert D. 960 -- in that case, tragic depths that aren't plumbed, and in the case of Beethoven's "Tempest," an anxiety and restlessness that aren't fully articulated. Perhaps Perahia is afraid that to be as expressive as, say, Kovacevich, in such music would be to be accused of hyperbole -- but listen to Kovacevich, and the character of the music seems totally consonant with the expressive charge that he brings to it, and it makes Perahia seem overly-cautious by comparison -- not as far as technique is concerned, but as far as expression is concerned. Perahia seems more at home in the other two sonatas here -- and he has recordings of other Beethoven sonatas that are very satisfying -- but for the "Tempest," try Kovacevich, a pianist who isn't afraid to get at the emotional volatility that was part of Beethoven's make-up.
Note: Since writing this review, I played Brendel's and Arrau's accounts of the "Tempest" -- absolutely fascinating, and both more engaging than Perahia's, I think. Arrau's slow movement is amazing, though it might be too slow -- but he makes it work for me. Both are beautifully recorded.
Note: Since writing this review, I played Brendel's and Arrau's accounts of the "Tempest" -- absolutely fascinating, and both more engaging than Perahia's, I think. Arrau's slow movement is amazing, though it might be too slow -- but he makes it work for me. Both are beautifully recorded.
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