“Music is a higher revelation than all wisdom and philosophy. Music is the electrical soil in which the spirit lives, thinks and invents.”
― Ludwig van Beethoven
Dear reader, we are now at #48 on the way to the top 50 classical recordings of all-time. The recording highlighted is the complete set of Ludwig van Beethoven’s 32 piano sonatas played by Hungarian pianist Annie Fischer recorded by the Hungaroton label between 1977-1978.
Ludwig van Beethoven
There is a lot of information about Beethoven that is easily found online or in books. You may be interested in reading my previous Beethoven entry at #23 on this list. To read more about Beethoven himself, here is the link to my earlier entry:
Beethoven’s Piano Sonatas
Beethoven wrote 32 mature piano sonatas between 1795 and 1822. He had written three juvenile sonatas when he was 13 years of age, and one unfinished sonata, WoO. 51. Although Beethoven had no plan for the sonatas to be put together in one collection, as a whole they comprise one of the most important bodies of work in the history of music. Famed conductor and pianist Hans von Bulow called them “The New Testament” of piano literature, with Bach’s The Well-Tempered Clavier being “The Old Testament” if you will.
During the classical and early romantic periods, solo piano music would often be composed for private parties or for the salon. However, Beethoven’s sonatas are considered the first major works for solo piano that are suited equally for private or public consumption. In fact, von Bulow was the first to play all 32 sonatas as a cycle in the concert hall. Famously, pianist Arthur Schnabel was the first to record all 32 sonatas for HMV, recorded between 1932 and 1935.
Beethoven’s piano sonatas are often thought of as coming from three different periods, and although this is rather arbitrary and not entirely accurate with Beethoven’s musical development, it is useful for explanation. The early sonatas, numbers 1-15, and numbers 19-20, cover the years 1795 - 1801. In this early period, the sonatas tended to be influenced by Haydn and Mozart and are generally in a more classical structure, often with four movements which was somewhat uncommon.
You may also notice that during the early sonatas Beethoven would embed two or three sonatas under one opus number, while he would dispense with this method later on and simply give each sonata its own opus. That change also roughly corresponded to when Beethoven began to move away from his classical moorings to explore more original structures and content that come closer to the revolutionary voice we now associate with him.
After the early sonatas, he wrote to a musician friend, “From now on, I’m going to take a new path.” In the middle sonatas, we begin to hear more experimentation and modifications as Beethoven became more original. The depth of expression becomes greater, and the music becomes more personal and more similar to his middle and late symphonies and concertos. The middle sonatas are numbers 16-18, 21-27 and span the period from 1802-1814.
Beethoven’s late sonatas are indicative of the composer at full maturity, and are generally considered some of the most difficult piano works to play. Beethoven continued to find new musical paths, using fugues and more advanced techniques in a radical departure from traditional sonata form. These sonatas are numbers 28-32, and are from the years 1816-1822.
It would be quite inaccurate to say all of Beethoven’s 32 sonatas are of equal quality or renown. Indeed, several of the sonatas that bear names are played the most often and are the most well-known by audiences, including:
Piano Sonata no. 8 in C minor “Pathetique” (1798) - The first of Beethoven’s sonatas to achieve great fame, it begins in a slow and mysterious manner, almost like a quandary needing to be resolved. There is anxiety, searching, and uncertainty in the music. The second movement is more soothing, flowing, but melancholy. The final Rondo appears in a positive mood, but is also lined with melancholy. When the first theme reappears, it is more pleasant and the ending coda is magnificent.
Piano Sonata no. 14 in C-sharp minor ‘Sonata quasi una fantasia’ “Moonlight” (1801) - Beginning to free himself from classical conventions, we hear a more romantic style in what has become one of Beethoven’s most beloved works. The first movement is almost instantly recognizable, and the Moonlight name was not Beethoven’s own but was applied later by a German music critic. It is essential for the pianist to find the correct tempo for this movement, either too fast or too slow can be disastrous. The final Presto movement is at the opposite end of the spectrum from the subdued beginning, becoming frantic and agitated. The contrast is striking.
Piano Sonata no. 21 in C major “Waldstein” (1804) - One of Beethoven’s finest sonatas was apparently inspired by his acquisition of a new piano. He had been losing his hearing for a while by this time, and the new piano helped him hear notes more clearly. The first movement is driving and rhythmic, a challenge for pianists. Considerable development ensues, and Beethoven brings back themes, only they are enhanced. The coda based on the main theme is brilliant. The second movement is darker, serious in tone, and dramatic. It is essentially lyrical and reflective, but brooding. The Rondo has an almost pastoral quality, although Beethoven develops it into a further upbeat celebration. The return of the main theme is joyous and the prestissimo coda is exciting.
Piano Sonata no. 23 in F minor “Appassionata” (1805) - my personal favorite of Beethoven’s sonatas, dubbed “appassionata” by his Hamburg publisher in 1838, this is the Beethoven we often recognize storming the heavens and conveying profound meaning. The dark, mysterious opening theme bursts into furious bouts of banging, which some have called shrieks of anger. Both hands of the pianist are fully employed with percussive chords and delicate figures on the other hand. Harmonics are among the most intense imaginable, phrases are unsettling, there are a series of stop and start rhythms that all lend the sonata its urgency and impact. The second movement andante is more relaxed, a respite before launching without pause into the fearsome, brutal finale. Keep in mind this was written in the same window of time as Beethoven’s Fifth Symphony, and it is clear there are similarities.
Piano Sonata no. 29 in B-flat major “Hammerklavier” (1818) - The “Hammerklavier”, was considered so difficult as to be unplayable until Franz Liszt played it in a concert 15 years later. In English the name brings forth the image of the pianist pounding away at the keyboard. However, in German it just means “pianoforte”. The heroic first theme makes a great statement, and then Beethoven runs through it all again, but with harmonic differentiation. Beethoven begins building what will become a massive structure that will eventually end in a massive fugue to end the sonata.
Here is a complete list of Beethoven’s 32 mature piano sonatas:
Piano Sonata No. 1 in F Minor, Op. 2, No. 1 (1796)
Piano Sonata No. 2 in A Major, Op. 2, No. 2 (1796)
Piano Sonata No. 3 in C Major, Op. 2, No. 3 (1796)
Piano Sonata No. 4 in E-flat Major, Op. 7 (1797)
Piano Sonata No. 5 in C Minor, Op. 10, No. 1 (1798)
Piano Sonata No. 6 in F Major, Op. 10, No. 2 (1798)
Piano Sonata No. 7 in D Major, Op. 10, No. 3 (1798)
Piano Sonata No. 8 in C Minor, Op. 13, “Pathetique” (1799)
Piano Sonata No. 9 in E Major, Op. 14, No. 1 (1799)
Piano Sonata No. 10 in G Major, Op. 14, No. 2 (1799)
Piano Sonata No. 11 in G-flat Major, Op. 22 (1802)
Piano Sonata No. 12 in A-flat Major, Op. 26 (1802)
Piano Sonata No. 13 in E-flat Major, Op. 27, No. 1, “Sonata quasi una fantasia” (1802)
Piano Sonata No. 14 in C-sharp Minor, Op. 27, No. 2, “Moonlight” (1802)
Piano Sonata No. 15 in D Major, Op. 28, “Pastorale” (1802)
Piano Sonata No. 16 in G Major, Op. 31, No. 1 (1803)
Piano Sonata No. 17 in D Minor, Op. 31, No. 2, “The Tempest” (1803)
Piano Sonata No. 18 in E-flat Major, Op. 31, No. 3 (1803)
Piano Sonata No. 19 in G Minor, Op. 49, No. 1 (1797/1805)
Piano Sonata No. 20 in G Major, Op. 49, No. 2 (1797/1805)
Piano Sonata No. 21 in C Major, Op. 53, “Waldstein” (1805)
Piano Sonata No. 22 in F Major, Op. 54 (1806)
Piano Sonata No. 23 in F Minor, Op. 57, “Appassionata” (1807)
Piano Sonata No. 24 in F-sharp Major, Op. 78 (1801)
Piano Sonata No. 25 in G Major, Op. 79 (1801)
Piano Sonata No. 26 in E-flat, Op. 81a, “Les Adieux” (1811)
Piano Sonata No. 27 in E Minor, Op. 90 (1815)
Piano Sonata No. 28 in A Major, Op. 101 (1817)
Piano Sonata No. 29 in B-flat Major, Op. 106, “Hammerklavier” (1819)
Piano Sonata No. 30 in E Major, Op. 109 (1821)
Piano Sonata No. 31 in A-flat Major, Op. 110 (1822)
Piano Sonata No. 32 in C Minor, Op. 111 (1823)
The Recording
The Hungarian pianist Annie Fischer was born in Budapest in 1914 and died in Budapest in 1995. She was a child prodigy, and made her debut at age 10. Fischer studied with composer and teacher Ernst von Dohnanyi at the Franz Liszt Academy of Music. She won the 1933 Liszt International Piano Competition by playing Liszt’s huge Sonata in B minor. Unfortunately just at the time she was beginning her career, the war broke out. Fischer fled to Sweden during the war, but eventually returned to Hungary. Fischer would make only very rare appearances outside Europe the rest of her life. Although she was greatly loved in her native Hungary, sadly she was never fully appreciated outside her homeland. For one, she disliked recording. She was a perfectionist when it came to her own playing, and this often led to frustration in the recording realm.
The recording at hand, the complete piano sonatas by Beethoven recorded by Hungaroton in the 1970s, were not released during Fischer’s lifetime at her request. Presumably this was due to her own perceived flaws in her playing. Shortly after her death in 1995, Hungaroton released the entire set after a few “minor repairs”.
A pianist of intensity and power, Fischer was most at home with Beethoven and Mozart. She also was known for her interpretations of several Romantic composers. Although in recent years the archives and vaults of radio companies and recording labels have unearthed several extant recordings made by Fischer, none have achieved the status of her recording of the Beethoven sonatas.
Recording all 32 of the Beethoven sonatas is a monumental task, as these are really the “Mt. Everest” of piano works. The pianist must be able to adapt to Beethoven’s changing styles, rhythms, dynamics, and extensive demands. There does not exist a “perfect” set of Beethoven’s sonatas, although some come closer than others. I submit to you that Fischer comes closest of all in terms of expression, emotion, control, dynamics, phrasing, clarity, and sound quality. Those who were able to hear Fischer live in concert speak of her power, spontaneity, intensity, communication with the audience, and virtuosity. These are the same qualities present throughout this great set of recordings. Because Fischer could not and would not play the same piece the same way twice, recording was a tedious proposition for her. Eventually she would record in short takes until she found the right expression for what she was feeling with the music, which she valued more highly than technical expression. So even though her recordings are spliced together in many spots, you would never know it when listening to this set. Naturally what is gained in this technique may be lost in terms of spontaneity. But Fischer is still able to capture a fresh and moving sound on these recordings because she knew what she was looking to create.
What we hear in Fischer’s set is remarkable playing of deep emotion, passion, power, and insight. Nothing is taken for granted, and Fischer’s involvement throughout is never in doubt. Her speeds are on the fast side at times, but never hurried, and she gives keen attention to detail even while never letting the tension slack. Fischer knew how to shape her playing to the phrase in an uncanny way, all the while keeping in view the overall framework of the piece. Aggressive when needed, but sensitive and lyrical when needed, this is the complete picture of Beethoven’s sonatas.
The playing is of an exceptional level in recorded sound that, while not perfect, is more than adequate. Another notable aspect of these performances are their consistency. You might expect some highs and lows in any set of this size, and that is true with Fischer too. However, in my view Fischer’s playing is more consistent across the board with sonatas from every period of Beethoven’s life than any other pianist on record.
Although there are too many examples to choose from, if I had to pick some of the best moments here, they would include Fischer’s readings of the Hammerklavier, Les Adieux, Appassionata, as well as almost all of the early period sonatas. The truth is Beethoven’s sonatas are an almost inexhaustible source for pianists and listeners alike. As with most works of great stature, there is substantial room for different opinions and playing styles. Some of my favorite sets are listed below, but there are now many many sets to explore representing a variety of styles and playing practice. If I haven’t listed a set that happens to be your favorite, there is enough room under the Beethoven ‘umbrella’ for everyone.
Other recommended recordings of the complete Beethoven piano sonatas
The groundbreaking set from Arthur Schnabel, the first complete recording of the Beethoven sonatas, remains among the best ever put down. In fact, if not for the dated and limited sound quality, this would be a top 50 recording. Given that these recordings date from 1932-1935, they still sound decent enough to give us a picture of the greatness of Schnabel’s playing and interpretations. This is truly the benchmark by which all later Beethoven sonata recordings would be measured. What we hear is vital, essential music-making. Schnabel’s technique is brilliant especially in the faster runs. This is not a set for sticklers when it comes to technical accuracy. There are a few wrong notes, but nevermind. What matters is Schnabel’s vision for how Beethoven should be played. The slower movements are never less than revelatory. This is one of the most important recordings in the history of music.
Friedrich Gulda recorded the complete sonatas twice, the later one being the best from 1967-1968 issued on Decca, but also on various other independent labels. Gulda was a master, one of the greatest pianists of the 20th century. Gulda excelled in Mozart and Beethoven, but on the side was also a gifted jazz pianist and composer. I love his way with the Beethoven sonatas: brisk, lean, rhythmically tight, even terse. This is a somewhat different approach than Fischer, not as warm, inward or romantic, but every bit as bracing and engaging. Gulda could never be put in a box, and this set is a perfect example. It is stimulating and more than a little provocative. Sound is generally good.
A young Alfred Brendel (now 92 years of age) first recorded all of the Beethoven sonatas for the Vox label between 1962-1964. While Brendel would make his career mostly from playing Beethoven and Mozart, and would commercially record the Beethoven’s sonatas twice more, it is this first set that I find the most captivating and consistent. One of the first CDs I owned was his fantastic Vox recording of the Appassionata sonata paired with Beethoven’s 5th Concerto “Emperor”. Vox was not a major label, but they would highlight huge swaths of a composer’s output by recording second tier (cheaper) artists and orchestras in Europe, and then later in the USA. However, what Vox stumbled upon in Brendel was a bonafide star who would later be picked up by other major recording labels. Some listeners prefer Brendel’s later, more considered, accounts of the sonatas. For me, I find that Brendel became more staid as he aged, and thus I prefer his earlier recordings. I saw Brendel live in Boston before he retired, and to be honest it was a rather forgettable performance. But this set remains among my favorites. The sound is among the best Vox ever produced.
Wilhelm Backhaus recorded all the Beethoven sonatas for Decca over a period of about 17 years between 1952 and 1969. Backhaus’ set is individualistic in that Backhaus was his own man and had his own very clear ideas about how to play Beethoven. There are many moments where Backhaus’ playing is exciting, compelling, strongly characterized, and satisfying. Truth be told, there are other moments that are rather odd, eccentric, or even baffling. But he could be stubborn and would record with purpose and with commitment to his vision. Backhaus also finds many opportunities to be well-considered and measured in his playing, almost aristocratic. His tone was never less than beautiful. Many of these recordings were made when Backhaus was in his 70s, yet there is nothing “stodgy” here. Indeed Backhaus’ prodigious talent may make it sound more effortless than it is. But more than any other pianist listed here, I find Backhaus let’s Beethoven speak for himself. One of the truly great sets. Sound is generally quite good throughout.
The great German pianist Wilhelm Kempff was primarily known for his Beethoven recordings. He recorded the complete sonatas twice for Deutsche Grammophon: the first in mono sound between 1951 and 1956, and the second time in stereo in the mid-1960s. It is the first set from the 1950s that has the greater verve, character, and sparkle. Kempff was not the kind of pianist to storm the heavens, and he kept his dynamic range fairly narrow. His approach works particularly well in the early and middle sonatas, as he consistently finds the inner spirit of each sonata. Perhaps he could have been more assertive in the late sonatas, but his restraint has its own benefits. The mono sound is almost the equal to the stereo set, and is more than acceptable.
American pianist Jonathan Biss has recorded one of the most satisfying complete sets of Beethoven sonatas, consistently fresh and enjoyable. Biss recorded the sonatas sometime between 2010 and 2019, and the complete set was released on Orchid Classics in 2019. Biss is an intellectual pianist, and for me there is a lightness of touch, a subtlety, and a logic to his playing. Biss does not hesitate to dive deeply into the meaning behind the notes, and his expression is vivid and detailed. There is spontaneity here, but it is born of preparation and thoughtfulness. Biss brings out the wit and humor in Beethoven’s writing, and small touches and details abound. Biss brings the power when needed, but takes a more balanced approach overall. What I especially like is Biss’ innate musical sense, and that he doesn’t have to take faster passages at breakneck speed without a larger purpose. Biss is given outstanding clear, vivid, and warm sound.
On a side note, Jonathan Biss, in conjunction with Curtis Institute of Music where Biss teaches, offers a free online course through Coursera titled Exploring Beethoven’s Piano Sonatas which I have not enrolled in, but which has garnered excellent reviews. Here is the link: https://www.coursera.org/learn/beethoven-piano-sonatas
Chilean pianist Claudio Arrau (1903-1991) was one of the greatest pianists of the twentieth century. He recorded the Beethoven sonatas in the 1960s for Philips (reissued by Decca fairly recently). These analog recordings are warm and rich with tremendous depth of feeling. Arrau was known more for his interpretations of late classical and romantic composers, particularly Liszt, Brahms, and Chopin, so he brings a heartfelt intensity to these readings. But he also has the goods to bring the power and virtuosity when needed. Arrau proves too that you don’t need to be a speed demon to play Beethoven, and in fact Arrau became synonymous with elegant and refined playing. A better description would be that Arrau had the ability to create sound and also to give that sound the space to be heard and appreciated. This is truly beautiful and grand Beethoven, with the magic that only Arrau could make. The sound is very good.
There is the complete set of the sonatas from Frenchman Jean-Efflam Bavouzet on the Chandos label, recorded in the U.K. between 2008-2016. Bavouzet has the full measure of these works, and if you need further evidence of his mastery of the classical repertoire you should also explore his complete recordings of Haydn’s sonatas, as well as his ongoing project to record all the Mozart piano concertos. There is a crispness to Bavouzet’s playing that I enjoy, which also lends itself to greater clarity and rhythmic accentuation. Still, Bavouzet is not one to linger and so this is a different approach than Brendel or Arrau. He whips up momentum in a thrilling way, but is more direct in his phrasing. Speeds are on the faster side, but never for the sake of virtuosity. Bavouzet gives the music room to breathe, but these are not warm or overly sentimental readings. The approach is closer to Gulda than anyone else. The sound is exemplary as usual from Chandos.
Finally there is the unfinished, nearly complete set from the legendary Russian pianist Emil Gilels (born in Odessa in what is now Ukraine), recorded between 1974 and 1985 by Deutsche Grammophon. Gilels recorded 27 of the 32 sonatas before his untimely death (the missing sonatas are nos. 1, 9, 22, 24, and 32). The sonatas that were recorded are considered to be among the finest versions ever recorded, and Gilels’ Hammerklavier recording won the Gramophone Award in 1984. Gilels’ playing is weighty, sonorous, and lucid. There is sparkle and wit as well, with an easy-going flamboyance. One is struck by the smoothness of tone, the way Gilels can bring the fire when needed, but also by his overall control. His playing astounds, inspires, and reminds me of just how “right” Gilels sounds in Beethoven.
There are many other sets that deserve to be heard and that have their own merits, even if I won’t return to them as often as those listed above: Igor Levitt (Sony, 2019), Ronald Brautigam (BIS, 2014, *played on fortepiano*), Rudolf Serkin (Sony, incomplete from various years but well worth hearing), Sviatoslav Richter (Profil, 2016 release incomplete but Richter is amazing as usual), Louis Lortie (Chandos, 2010), Daniel Barenboim (three sets DG 2020, DG 1984, EMI/Warner 1966), Rudolf Buchbinder (three sets DG Live 2021, RCA 2012, Teldec 2006), Maurizio Pollini (DG, 2014), Stephen Kovacevich (Warner, reissued 2017), Fazil Say (Warner, 2020), Boris Giltburg (Naxos, 2021), Yves Nat (EMI, 1955), Paul Badura-Skoda (Arcana, reissued 2020), Konstantin Scherbakov (Steinway, 2020), Yu Kosuge (Imports, 2016), John O’Connor (Telarc, 2006), and Richard Goode (Nonesuch, reissued 2017). I’m sure I’ve missed some as well.
We are only two more entries away from rounding out the top 50 classical recordings of all-time!
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Notes:
Bailey, Ian. http://www.musicweb-international.com/classrev/2006/aug06/beethoven_sonatas_backhaus_4757198.htm
Brennan, Gerald. Cummings, Robert. Morrison, Michael. Reel, James. Schrott, Allen. Woodstra, Chris. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Pp. 108-113. Backbeat Books, San Francisco. 2005.
Cooper, Barry (April 2017). The Creation of Beethoven's 35 Piano Sonatas. Routledge. ISBN 978-1-4724-1431-1.
Morante, Basilio Fernández; Davis, Charles (2014). "A Panoramic Survey of Beethoven's Hammerklavier Sonata, Op. 106: Composition and Performance". Notes. 71 (2): 237–262. doi:10.1353/not.2014.0152. S2CID 191575332. Retrieved 31 January 2019.
Morin, Alexander. 1999. http://www.classical.net/music/recs/reviews/h/hgr31326a.php
Schwarm, Betsy. https://www.britannica.com/topic/Beethoven-Piano-Sonatas
https://www.goodreads.com/author/quotes/40589.Ludwig_van_Beethoven