Piano Sonatas (Late Selections, Nos. 28-32)

Ludwig van Beethoven

Maurizio Pollini /

late 1970s

Gil's top recommendation for the set of five late sonatas. An 'incredibly skilled pianist,' his playing is 'structurally sound,' 'powerful,' 'rhythmically energetic,' 'nuanced,' and 'wonderfully delicate.' His No. 32 is 'especially really great.'

Solomon /

early 1950s

An 'iconic Beethoven Sonata set' of the late sonatas. Praised for Solomon's 'technical ability, wonderfully strong tone as well as delicate touch,' and 'keen musical mind.' He 'really draws... out' the 'Hammerklavier' slow movement. Mono sound.

Emil Gilels /

1983

A 'really, really strong version' of the 'Hammerklavier' (No. 29). It has 'profundity, that majestic, strong tone,' and a 'beautifully done' slow movement with 'gorgeous tone.'

Rudolf Serkin /

early 1970s

A 'wonderful version' of the 'Hammerklavier' (No. 29). 'Technically just absolutely brilliant,' with a 'really, really strong' first movement and a 'very structurally sound' slow movement that 'doesn't linger.'

Sviatoslav Richter /

1963 Live in Leipzig

A 'brilliant' and 'illuminating' live recital of the final three sonatas (Nos. 30, 31, 32). It features his 'technical skill,' 'strong tone,' and 'probing mind.' Sonata No. 32 is 'particularly moving.' Sound is 'a little bit noisy.'

Arturo Benedetti Michelangeli /

1965

A 'captivating interpretation' of Sonata No. 32. Praised for its 'wonderful musical judgment,' 'clarity,' 'refined,' 'beautiful tone,' and 'very powerful' playing.