It's an intimate, home-studio recording of love songs – deep, almost painfully heartfelt – and so good it will be sure to top most best-of lists. There's no tricksiness, just the woody thump of Haden's bass adding authority to Jarrett's tender, faithful chording. "For All We Know" is a Desert Island Discs cert; "Body & Soul" is done almost jauntily; the closing "Don't Ever Leave Me" a bitter sweet miracle. If you buy only one album this year, etc. ~Phil Johnson in The Independent, 2 May 2010
The film received a pasting from UK critics but as the soundtrack chooses from a vast archive of great performances, it’s possible to retrieve something from the experience. The opening track, the Grosse Fuge, is a bold choice given the wider audience for whom this soundtrack is aiming. It receives a magnificent performance from the Takács Quartet which is as finely attuned to the music’s jagged outcrops as its sheltered byways. The uninterrupted flow of the sweet and soulful second movement of the third Razumovsky is pure poetry in their hands. Ashkenazy gives a brilliant but never rushed performance of the finale to the early Sonata in C minor and his straightforward manner in the Arietta from Beethoven’s last sonata is illuminated by the very clear Decca recording. Haitink’s performance of the finale of the Ninth Symphony with the Royal Concertgebouw and a quartet of soloists led by Lucia Popp does not storm the heavens and I don’t ever recall being so aware of this movement’s proceeding by paragraphs. However, it would seem to have found a comfortable place in a well planned and wide-ranging celebration of Beethoven’s genius.
Dumay and Pires have made some outstanding recordings.. and this new set of Beethoven's complete works in the same genre.. belongs among the very best available.
Make no mistake, this is chamber music playing of the first order, and a major contribution to the Beethoven discography–a set to be savored and enjoyed many times over
Beethoven was Wilhelm Furtwängler’s guiding musical force. In his interpretations of the symphonies, the conductor generates irresistible dramatic momentum – and a constant sense of imaginative freshness – through the interrelationship of form, harmony, texture, rhythm and tempo. These recordings, all made in the late 1940s and early 1950s, in the Musikverein in Vienna and at concerts in London, Bayreuth and Stockholm, were newly remastered in 2010, bringing their sound more alive than ever before.
Now many of the world’s most serious and significant pianists (Schnabel, Serkin, Brendel, Goode, etc.) have devoted a great deal of thoughtful study to the Beethoven sonatas; in general, performance of this music represents a level of erudition and deep contemplation probably unequaled by the works of any other mainstream composer. Serious pianists study every aspect of these works in minute detail; virtually everything is taken into account except those instruments which inspired Beethoven, and which he had in mind when he composed.
Every man's death diminishes us all, but the death of a man so close to completing his greatest achievement and the summation of his life's work diminishes us all greatly – very, very greatly. When Emil Gilels died in 1985, he had completed recordings of most but not all of Beethoven's piano sonatas, released here in a nine-disc set. What's here is unimaginably good: superlative recordings of 27 of the 32 canonical sonatas, including the "Pathétique," "Moonlight," "Waldstein," "Appassionata," "Les Adieux," and the majestic "Hammerklavier," plus the two early "Electoral" Sonatas and the mighty Eroica Variations. What's missing is unimaginably priceless: five of the canonical sonatas, including the first and – horror vacui – the last. But still, for what there is, we must be grateful. Beyond all argument one of the great pianists of the twentieth century, Gilels the Soviet super virtuoso had slowly mellowed and ripened over his long career, and when he began recording the sonatas in 1972, his interpretations had matured and deepened while his superlative technique remained gloriously intact straight through to the last recordings of his final year.
This six-CD collection of 101 favorite tracks is the perfect introduction to the music of Ludwig van Beethoven, considered by many to be the greatest of all classical composers.
The comprehensive collection covers every aspect of this popular composer s music from the power and might of his groundbreaking Choral Symphony to the Viennese charm of his Minuets.
"Muti's Beethoven Fifth is fleet, fluid, and transparent. He shows his usual attention to details, and offers many individual touches. I especially enjoyed the horn crescendo in bar 34 of the Allegro con brio. It's not indicated in my ancient Eulenberg score but makes perfect sense in its context. …Muti achieves a clarity and rhythmic definition found only in the finest interpretations…The playing of the Philadelphia Orchestra is nothing short of spectacular. The fast string triplets from measure 132 in the final movement are not only accurate but beautifully played with full tone.
Recorded between 1964 and 1968, Paul Kletzki's respected cycle of Ludwig van Beethoven's symphonies on Supraphon rightly should be classified as a historical item for specialists, rather than as a recommended option for anyone seeking a great (and great sounding) modern set. Kletzki was an admired and popular conductor, noted for working with both European and American orchestras, and his interpretations of Beethoven are intelligent and insightful, regarded by some reviewers as among the finest of their time; the performances are still valuable for their musicality and significance among mid-20th century offerings.