Wlhelm Backhaus - Beethoven: Piano Sonatas 1-32 (8 CD) (1999)
Artist: Wlhelm Backhaus
Title: Beethoven: Piano Sonatas 1-32
Year Of Release: 1999
Label: Decca
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 09:02:23
Total Size: 2.4 Gb
WebSite: Album Preview
Tracklist: Title: Beethoven: Piano Sonatas 1-32
Year Of Release: 1999
Label: Decca
Genre: Classical
Quality: FLAC (image+.cue,log,scans)
Total Time: 09:02:23
Total Size: 2.4 Gb
WebSite: Album Preview
CD 1:
01. Piano Sonata No. 1 in F minor, Op. 2/1: 1. Allegro [0:03:03.62]
02. Piano Sonata No. 1 in F minor, Op. 2/1: 2. Adagio [0:03:58.33]
03. Piano Sonata No. 1 in F minor, Op. 2/1: 3. Menuetto & Trio: Allegretto [0:02:24.45]
04. Piano Sonata No. 1 in F minor, Op. 2/1: 4. Prestissimo [0:03:54.10]
05. Piano Sonata No. 2 in A major, Op. 2/2: 1. Allegro vivace [0:04:56.35]
06. Piano Sonata No. 2 in A major, Op. 2/2: 2. Largo appassionato [0:04:59.47]
07. Piano Sonata No. 2 in A major, Op. 2/2: 3. Scherzo & Trio: Allegretto [0:02:46.63]
08. Piano Sonata No. 2 in A major, Op. 2/2: 4. Rondo: Grazioso [0:06:23.05]
09. Piano Sonata No. 3 in C major, Op. 2/3: 1. Allegro con brio [0:07:22.12]
10. Piano Sonata No. 3 in C major, Op. 2/3: 2. Adagio [0:05:57.23]
11. Piano Sonata No. 3 in C major, Op. 2/3: 3. Scherzo & Trio: Allegro [0:03:04.25]
12. Piano Sonata No. 3 in C major, Op. 2/3: 4. Allegro assai [0:05:32.15]
13. Piano Sonata No. 5 in C minor, Op. 10/1: 1. Allegro molto e con brio [0:04:08.12]
14. Piano Sonata No. 5 in C minor, Op. 10/1: 2. Adagio molto [0:05:51.40]
15. Piano Sonata No. 5 in C minor, Op. 10/1: 3. Finale: Prestissimo [0:03:18.08]
CD 2:
01. Piano Sonata No.4 in E flat major, op.7 - I. Allegro molto e con brio [0:06:21.35]
02. Piano Sonata No.4 in E flat major, op.7 - II. Largo, con gran espressione [0:06:11.45]
03. Piano Sonata No.4 in E flat major, op.7 - III. Allegro [0:03:48.15]
04. Piano Sonata No.4 in E flat major, op.7 - IV. Rondo (Poco allegretto e grazio) [0:06:42.55]
05. Piano Sonata No.6 in F major, op.10 no.2 - I. Allegro [0:04:27.00]
06. Piano Sonata No.6 in F major, op.10 no.2 - II. Allegretto [0:03:27.05]
07. Piano Sonata No.6 in F major, op.10 no.2 - III. Presto [0:02:26.70]
08. Piano Sonata No.7 in D major, op.10 no.3 - I. Presto [0:04:55.17]
09. Piano Sonata No.7 in D major, op.10 no.3 - II. Largo e mesto [0:06:36.50]
10. Piano Sonata No.7 in D major, op.10 no.3 - III. Menuetto & Trio (Allegro) [0:02:35.33]
11. Piano Sonata No.7 in D major, op.10 no.3 - IV. Rondo (Allegro) [0:04:08.50]
12. Piano Sonata No.8 in C minor, op.13 - I. Grave (Allego di molto e con brio) [0:06:16.02]
13. Piano Sonata No.8 in C minor, op.13 - I. Adagio cantabile [0:04:46.63]
14. Piano Sonata No.8 in C minor, op.13 - I. Rondo (Allegro) [0:04:28.12]
CD 3:
01. Piano Sonata No.9 in E major, op.14 no.1 - I. Allegro [0:04:31.25]
02. Piano Sonata No.9 in E major, op.14 no.1 - II. Allegretto [0:03:12.67]
03. Piano Sonata No.9 in E major, op.14 no.1 - III. Rondo (Allegro comodo) [0:03:33.58]
04. Piano Sonata No.10 in G major, op.14 no.2 - I. Allegro [0:04:57.62]
05. Piano Sonata No.10 in G major, op.14 no.2 - II. Andante [0:05:31.13]
06. Piano Sonata No.10 in G major, op.14 no.2 - III. Scherzo (Allegro assai) [0:03:27.00]
07. Piano Sonata No.11 in B flat major, op.22 - I. Allegro con brio [0:05:40.37]
08. Piano Sonata No.11 in B flat major, op.22 - II. Adagio con molta espressione [0:07:12.43]
09. Piano Sonata No.11 in B flat major, op.22 - III. Menuetto [0:03:07.60]
10. Piano Sonata No.11 in B flat major, op.22 - IV. Rondo (Allegreto) [0:05:43.10]
11. Piano Sonata No.12 in A flat major, op.26 - I. Andante con Variazioni [0:07:08.25]
12. Piano Sonata No.12 in A flat major, op.26 - II. Scherzo & Trio ( Allegro molto) [0:02:42.50]
13. Piano Sonata No.12 in A flat major, op.26 - III. Marcia fuebre sulla d'n Eroe [0:05:15.67]
14. Piano Sonata No.12 in A flat major, op.26 - IV. Allegro [0:02:48.28]
CD 4:
01. Piano Sonata No.13 in E flat major, op.27 no.1 - Andante Allegro Tempo I attacca [0:04:53.23]
02. Piano Sonata No.13 in E flat major, op.27 no.1 - Allegro molto e vivace attacca [0:02:10.40]
03. Piano Sonata No.13 in E flat major, op.27 no.1 - Adagio con espressione attacca [0:02:13.66]
04. Piano Sonata No.13 in E flat major, op.27 no.1 - Allegro vivace Adagio Presto [0:05:29.33]
05. Piano Sonata No.14 in C sharp minor, op.27 no.2 - Adagio sotenuto attacca [0:05:45.41]
06. Piano Sonata No.14 in C sharp minor, op.27 no.2 - Allegretto & Trio [0:02:21.19]
07. Piano Sonata No.14 in C sharp minor, op.27 no.2 - Presto agitato [0:07:31.29]
08. Piano Sonata No.15 in D major, op.28 - Allegro [0:06:47.41]
09. Piano Sonata No.15 in D major, op.28 - Andante [0:06:28.73]
10. Piano Sonata No.15 in D major, op.28 - Scherzo & Trio (Allegro vivace) [0:01:54.52]
11. Piano Sonata No.15 in D major, op.28 - Rondo (Allegro ma non tropo) [0:04:20.00]
12. Piano Sonata No.16 in G major, op.31 no.1 - Allegro vivace [0:05:02.17]
13. Piano Sonata No.16 in G major, op.31 no.1 - Allegro grazio [0:08:24.14]
14. Piano Sonata No.16 in G major, op.31 no.1 - Rondo (Allegretto) [0:06:10.29]
CD 5:
01. Piano Sonata No.17 in D minor, op.31 no.1 - I. Largo - Allegro [0:08:29.52]
02. Piano Sonata No.17 in D minor, op.31 no.1 - II. Adagio [0:06:16.73]
03. Piano Sonata No.17 in D minor, op.31 no.1 - III. Allegretto [0:06:34.25]
04. Piano Sonata No.18 in E flat major, op.31 no.3 - I. Allegro [0:06:16.40]
05. Piano Sonata No.18 in E flat major, op.31 no.3 - II. Scherzo. Allegretto vivace [0:03:46.72]
06. Piano Sonata No.18 in E flat major, op.31 no.3 - III. Menuetto & Trio. Moderato e grazioso [0:04:06.50]
07. Piano Sonata No.18 in E flat major, op.31 no.3 - IV. Presto con fuoco [0:04:53.63]
08. Piano Sonata No.19 in G minor, op.49 no.1 - I. Andante [0:03:27.72]
09. Piano Sonata No.19 in G minor, op.49 no.1 - II. Rondo. Allegro [0:03:36.03]
10. Piano Sonata No.20 in G major, op.49 no.2 - I. Allegro, ma non troppo [0:02:59.45]
11. Piano Sonata No.20 in G major, op.49 no.2 - II. Tempo di Menuetto [0:03:19.30]
12. Piano Sonata No.21 in C major, op.53 - I. Allegro con brio [0:08:52.37]
13. Piano Sonata No.21 in C major, op.53 - II. Introduzione. Adagio molto - attacca [0:03:12.18]
14. Piano Sonata No.21 in C major, op.53 - III. Rondo. Allegretto moderato - Prestissimo [0:09:41.07]
CD 6:
01. Piano Sonata No.22 in F minor, op.54 - I. In Tempo d'un Menuetto [0:05:17.12]
02. Piano Sonata No.22 in F minor, op.54 - II. Allegretto - Piu Allegro [0:05:19.63]
03. Piano Sonata No.23 in F minor, op.57 - I. Allegro assai [0:09:37.15]
04. Piano Sonata No.23 in F minor, op.57 - II. Andante con moto - attacca [0:05:55.60]
05. Piano Sonata No.23 in F minor, op.57 - III. Allegro ma non troppo - Presto [0:05:34.00]
06. Piano Sonata No.24 in F sharp major, op.78 - I. Adagio cantabile - Allegro ma non troppo [0:06:48.20]
07. Piano Sonata No.24 in F sharp major, op.78 - II. Allegro vivace [0:03:18.55]
08. Piano Sonata No.25 in G major, op.79 - I. Presto alla tedesca [0:04:18.32]
09. Piano Sonata No.25 in G major, op.79 - II. Andante [0:02:55.60]
10. Piano Sonata No.25 in G major, op.79 - III. Vivace [0:01:56.58]
11. Piano Sonata No.26 in E flat major, op.81a - I. Das Lebewohl. Adagio - Allegro [0:06:59.52]
12. Piano Sonata No.26 in E flat major, op.81a - II. Abwesenheit. Andante espressivo] [0:03:06.63]
13. Piano Sonata No.26 in E flat major, op.81a - III. Das Wiedersehen. Vivacissimamente - Poco andante - Tempo I [0:06:04.50]
CD 7:
01. Piano Sonata No. 27 in E minor, Op. 90- 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck [0:05:03.52]
02. Piano Sonata No. 27 in E minor, Op. 90- 2. Nicht zu geschwind und sehr singbar vorzutragen [0:07:41.23]
03. Piano Sonata No. 28 in A major, Op. 101- 1. Etwas lebhaft und mit der innigsten Empfingung (Allegretto, ma non troppo) [0:03:16.25]
04. Piano Sonata No. 28 in A major, Op. 101- 2. Lebhaft. Marschmäßig (Vivace alla marcia) [0:06:07.30]
05. Piano Sonata No. 28 in A major, Op. 101- 3. Langsam und sehnsuchtsvoll (Adagio, ma non troppo, con affetto) - Zeitmaß des ersten Stückes (Te [0:09:38.20]
06. Piano Sonata No. 29 in B flat major (-Hammerklavier-), Op. 106- 1. Allegro [0:11:49.00]
07. Piano Sonata No. 29 in B flat major (-Hammerklavier-), Op. 106- 2. Scherzo- Assai vivace - Presto - Tempo 1 [0:02:41.30]
08. Piano Sonata No. 29 in B flat major (-Hammerklavier-), Op. 106- 3. Adagio sostenuto- Appassionato e con molto sentimento [0:16:36.45]
09. Piano Sonata No. 29 in B flat major (-Hammerklavier-), Op. 106- 4. Largo - Allegro - Allegro risoluto [0:11:01.20]
CD 8:
01. Piano Sonata No. 30 in E major, Op. 109- 1. Vivace (ma non troppo) - adagio espressivo - tempo 1 - 2. Prestissimo [0:05:16.02]
02. Piano Sonata No. 30 in E major, Op. 109- 3. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) - [0:07:55.23]
03. Piano Sonata No. 30 in E major, Op. 109- Allegro ma non troppo [0:04:39.50]
04. Piano Sonata No. 31 in A flat major, Op. 110- 1. Moderato cantabile molto espressivo - [0:05:24.35]
05. Piano Sonata No. 31 in A flat major, Op. 110- 2. Allegro molto [0:02:04.32]
06. Piano Sonata No. 31 in A flat major, Op. 110- 3. Adagio ma non troppo - Recitativo - Adagio ma non troppo- Arioso dolente (Klagender Gesang) - [0:02:51.20]
07. Piano Sonata No. 31 in A flat major, Op. 110- Fuga- Allegro ma non troppo - L'istesso tempo di Arioso - L'istesso tempo della Fuga - Meno allegro [0:06:14.63]
08. Piano Sonata No. 32 in C minor, Op. 111- 1. Maestoso - Allegro con brio ed appassionato [0:08:17.37]
09. Piano Sonata No. 32 in C minor, Op. 111- 2. Arietta- Adagio molto semplice e cantabile [0:13:09.18]
Performers:
Wlhelm Backhaus – piano
Wilhelm Backhaus recorded Beethoven’s complete piano sonatas in mono for Decca in the early 1950s, and with the advent of stereo he began the process anew in 1958. Although he managed to finish 31 out of the 32, the pianist died before he got around to remaking the Hammerklavier (Op. 106). Consequently, the mono Hammerklavier fills out Backhaus’ stereo cycle that Decca now reissues in its Original Masters series.
Although numerous piano mavens hold Backhaus’ Beethoven in high, nearly iconic esteem, I’ve always had mixed reactions to these recordings. In general, the pianist’s cavalier attitude toward Beethoven’s dynamics, articulation, and phrasing obscures the composer’s clearly specified linear trajectory and implicit drama. Slow movements tend to be perfunctorily brisk and overly loud (the pianist rarely achieves a true pianissimo), and many repeats are omitted. I also suspect that the stylistic anachronisms characterizing Backhaus’ pianism (de-synchronized hands, added bass octaves, arpeggiated chords) arise more out of habit than intent.
Furthermore, most comparisons between the present set and Backhaus’ mono versions (last available as Japanese imports) reveal the pianist’s fingers to be past their once unassailable prime. Op. 10 No. 2’s finale, Op. 10 No. 3’s charging octaves, Op. 27 No. 2’s scampering passages, and the last three sonatas illustrate my point. The Op. 81a “Les Adieux” sonata is as heavy handed and pounded out as the pianist’s earlier HMV shellac edition was musically forthright and technically shipshape. The sharp accentuation and dry wit that dissimilar pianists like Goode and Kempff bring out in Op. 31 No. 1’s first movement fall by the wayside in Backhaus’ overly robust interpretation.
However, despite my cavils, you cannot deny Backhaus’ sincerity, his ripe, well-modulated sonority, and the communicative immediacy he often achieves. In this sense, the three so-called “name” sonatas (Pathétique, Moonlight, and Appassionata) succeed with little qualification, and so does the Waldstein (with first-movement repeat intact!). And it was a joy to reconnect with Backhaus’ deeply felt and well played renditions of Op. 90 and Op. 101.
Rehearing the 1952 Hammerklavier led me to rethink and respect (if not love) Backhaus’ tough-skinned, grantic sobriety, which reminds me of Rudolf Serkin, albeit without the latter’s raw-nerve intensity and linear cogency. When all is said and done, it’s important that the work of this highly regarded keyboard master is accessible to students, music lovers, and scholars alike–and the pianist’s admirers also will welcome this reissue with open arms. -- Jed Distler
Although numerous piano mavens hold Backhaus’ Beethoven in high, nearly iconic esteem, I’ve always had mixed reactions to these recordings. In general, the pianist’s cavalier attitude toward Beethoven’s dynamics, articulation, and phrasing obscures the composer’s clearly specified linear trajectory and implicit drama. Slow movements tend to be perfunctorily brisk and overly loud (the pianist rarely achieves a true pianissimo), and many repeats are omitted. I also suspect that the stylistic anachronisms characterizing Backhaus’ pianism (de-synchronized hands, added bass octaves, arpeggiated chords) arise more out of habit than intent.
Furthermore, most comparisons between the present set and Backhaus’ mono versions (last available as Japanese imports) reveal the pianist’s fingers to be past their once unassailable prime. Op. 10 No. 2’s finale, Op. 10 No. 3’s charging octaves, Op. 27 No. 2’s scampering passages, and the last three sonatas illustrate my point. The Op. 81a “Les Adieux” sonata is as heavy handed and pounded out as the pianist’s earlier HMV shellac edition was musically forthright and technically shipshape. The sharp accentuation and dry wit that dissimilar pianists like Goode and Kempff bring out in Op. 31 No. 1’s first movement fall by the wayside in Backhaus’ overly robust interpretation.
However, despite my cavils, you cannot deny Backhaus’ sincerity, his ripe, well-modulated sonority, and the communicative immediacy he often achieves. In this sense, the three so-called “name” sonatas (Pathétique, Moonlight, and Appassionata) succeed with little qualification, and so does the Waldstein (with first-movement repeat intact!). And it was a joy to reconnect with Backhaus’ deeply felt and well played renditions of Op. 90 and Op. 101.
Rehearing the 1952 Hammerklavier led me to rethink and respect (if not love) Backhaus’ tough-skinned, grantic sobriety, which reminds me of Rudolf Serkin, albeit without the latter’s raw-nerve intensity and linear cogency. When all is said and done, it’s important that the work of this highly regarded keyboard master is accessible to students, music lovers, and scholars alike–and the pianist’s admirers also will welcome this reissue with open arms. -- Jed Distler
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