Piano Sonatas (Early & Middle Selections)

Ludwig van Beethoven

Emil Gilels /

1970s/1980s

Gil's first recommendation for these sonatas (Pathétique, Moonlight, Tempest, Waldstein, Appassionata, Les Adieux). Gilels was 'just made for Beethoven,' with 'powerful tone, wonderful imagination,' 'immaculate judgment,' and 'smooth legato playing but also with clarity.'

Arthur Rubinstein /

early 1960s

A 'really beautiful version' of the 'Moonlight,' 'Pathétique,' 'Appassionata,' and 'Les Adieux.' Especially noted for its 'gorgeous' Moonlight and 'wonderful' Les Adieux.

Claudio Arrau /

1960s

A sampler of the three most popular sonatas ('Moonlight,' 'Pathétique,' 'Appassionata'). Arrau plays as a 'searching artist' and 'romantic at heart'—'ruminative,' 'impassioned,' and 'powerful,' if sometimes 'a little bit deliberate.'

Rudolf Serkin /

1962/late 1970s

A contrast to Arrau, with a 'clear sound, very articulated' that 'kept things moving forward.' Very powerful and 'particularly suited' for the 'Appassionata.' ('Les Adieux' from the 70s is a bonus but 'not quite on the level').

Ivan Moravec /

An 'imaginative artist, very impassioned' who could linger. Features 'wide extremes of dynamics' and 'wide extremes of tempo,' with a 'beautifully, beautifully done' 'Moonlight' opening. Also includes 'Les Adieux'.

Solomon /

early 1950s

A mono disc with 'Pathétique,' 'Moonlight,' No. 7, and No. 13. Praised as 'beautifully ruminative.' Solomon takes the 'Moonlight' opening 'daringly slow' but 'sustains it beautifully.' An 'intelligent artist' with a 'nervous tension' that 'really fits Beethoven well.'

Wilhelm Kempff /

A single disc highlighted specifically for the 'Pastoral' sonata (No. 15), where Kempff's 'glowing tone... really lends itself to the tranquility.' Also includes his 'Moonlight' and 'Pathétique,' noted for their individual (slower fast/faster slow) tempos.

Sviatoslav Richter /

1961

An 'excellent' version of the 'Tempest' Sonata (No. 17). It 'combines virtuosity and power with a probing mind.' It's 'very intense,' and the final movement is 'beautifully flowing.'

Sviatoslav Richter /

1960

An 'iconic version' of the 'Appassionata' (No. 23). Richter's incredible technique 'freed him up artistically' to be 'incredibly exciting, incredibly dramatic, and captivating.'