Paul Lewis performed all the Beethoven piano sonatas on tour in the USA and Europe between the 2005 and 2007 seasons, in parallel with his complete recording of the cycle for Harmonia Mundi. His interpretation of the Lizst sonata was distinguished by the prestigious Edison Award, while his recording of the complete Beethoven sonatas received two Gramophone Awards in 2008 (Recording of the year and Best Instrumental Recording).
From Wikipedia: Annie Fischer (July 5, 1914 - April 10, 1995) was Hungarian, a child prodigy who quickly established an international reputation. She only played in the US for one or two seasons, so we know her work mainly from her relatively few recordings, but those who heard her in concert speak in glowing terms of the spontaneity, power, and beauty of her performances, of her passionate musicality, and of the intensity of her communication with her audiences.
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.
Daishin Kashimoto, a Japanese national born in London who studied at the Juilliard when barely in long trousers, started prodigiously young – he gave his first full recital aged nine and has scooped most of the world's top violin prizes. Today he is first concertmaster of the Berlin Philharmonic Orchestra. He also has a lively career as soloist and chamber musician. His clean, elegant tone and peerless accuracy suit these Beethoven sonatas, requiring digital precision in, say, the early "classical" Op 12 set or the witty, tail-chasing Scherzo of the C minor, Op 30 No 2. In contrast he easily embraces the big-boned ambitions of the Kreutzer Sonata Op 47, never sounding forced. Konstantin Lifschitz is a sympathetic, alert partner, even if the recording seems to favour the violin perhaps more than Beethoven would have expected. But the musicianship is never in question.
Maurizio Pollini’s Beethoven Sonatas cycle has reached completion after nearly 40 years. We celebrate this major event with a handsome 8-CD capbox that provides a fitting testimonial to a great artistic partnership between pianist and record label. The final recordings in the cycle (opp. 31 & 49) are being released simultaneously as a single CD.
The recording is clean and conducive to the careful listening which Korstick consistently commands. (…) The pianist has declared his aim is to attain an "ideal", a distillation of Beethoven's piano writing. Perhaps a Platonic "essence" even. If this, rather than something personal, fluid, malleable and potentially as fallible as it is valid appeals to you, then you should investigate the cycle on Oehms. (…) For here is – if not a granite monolith – a commentary on what stone and a chisel can achieve.