- Director de orquesta: N/a
- Compositor: Beethoven
- CD de audio (23 de septiembre de 2010)
- Número de discos: 9
- Formato: Audiolibro, CD
- Sello: Orfeo
- ASIN: B003L544SK
- Ediciones a la venta: Música MP3
- Valoración media de los clientes: 5.0 de un máximo de 5 estrellas Ver todas las opiniones (1 opinión de cliente)
- Clasificación en los más vendidos de Amazon:
Sonatas Completas Piano (9 Cd) Audiolibro, CD
AutoRip solo está disponible para CDs y vinilos vendidos por Amazon.es (salvo para pedidos de regalos o pedidos de PrimeNow). Consulta Condiciones del servicio para más información, como los costes de las versiones MP3 en caso de devoluciones o cancelaciones.
Los clientes que compraron este producto también compraron
Descripción del producto
The appearance of a new, complete recording by Friedrich Gulda of the Beethoven sonatas, made before his two previously known cycles, can be regarded as a sensation. If a pianist makes three recordings within 20 years of the most important cycle for his instrument then it would be regarded, even by today s standards, as extraordinary. But to have done it in the 1950s and 60s was a unique achievement - the business of capturing it as a sound recording in the early 1950s was still something brave and new in every way. Schnabel s recording from the 1930s had the ill luck of being made at the wrong time, when the world was busy with greater problems; the same was more or less true of the first recording that Wilhelm Kempff began, but did not complete, during the War. To be sure, the history of sound recording has meant that constant technical advancements (LP, stereo and digital techniques) have been the prime reason for artists to make lavish, new complete recordings of the same works. All the same, Gulda s second complete recording, for Decca in London, hitherto believed to be his first, still counts among the most audacious early recording projects of the sonatas in the post-war years. The recording that preceded it, which Orfeo have been authorised to publish here, was made for Austrian Radio. Gulda went to the Viennese studios to make it at the turn of 1953/4, at a time when the city was still under the control of the Russian occupying power. This young pianist, born in Vienna on 16 May 1930, had begun his international career in spectacular fashion by winning the Geneva Competition in 1946. He performed Beethoven s sonatas in the autumn of 1953 in several Austrian cities. He was so played in that it seems to have been a mere matter of routine for him to record up to six big sonatas in the space of just two days in the studio. This was an incredible achievement that is in no way diminished by the minimal glitches to be found here. If anything, these inaccuracies enhance the spontaneity and vibrancy of Gulda s performance, which even at this early stage of his career was distinguished by a headstrong personality and exceptional abilities. His choice of tempi is fearless and stringent, while his high degree of precision is fostered by an economical use of the pedal and a rejection of any arbitrary accelerandi or ritardandi (as for example in the Hammerklavier Sonata). It is such aspects of his playing in particular that reveal a de-Romanticisation of Beethoven. This was a process to which Gulda s interpretations contributed, yet which detracted not a whit from the master s Titanic greatness. On the contrary: it is precisely the simplicity and the clarity of Gulda s Beethoven interpretations despite their occasional stylised moments that make evident the humility and modesty of the pianist in the face of the supreme genius of the composer. The Sonatas are here complemented by the Six Bagatelles Op. 126, the Diabelli Variations Op. 120 and the Eroica Variations Op. 35.
Detalles del producto
Si eres el vendedor de este producto, ¿te gustaría sugerir ciertos cambios a través del servicio de atención al vendedor?
Opiniones de clientes
Principales opiniones de clientes
Opiniones de clientes más útiles en Amazon.com (beta)
These 50s recordings are a treasure, they sound great. I'd listen to both his sets for it is hard to choose, in the 1960s set you get the concertos, here the Eroica and Diebelli variations.
"Orfeo mono C808 109L (10h 45’ · ADD) Recorded 1953, 1954 & 1957. Orfeo’s nine-CD set of the complete Beethoven piano sonatas (plus the Eroica and Diabelli Variations, and the Bagatelles, Op 126, all from 1957) is no mere duplication of what we already have. Indeed, this 1953-54 Austrian Radio sonata cycle falls almost exactly midway between the constituent parts of the Gulda cycle that Decca issued on LP (and subsequently reissued as an 11-CD set in its Original Masters series). Oddly enough the first point of contrast to hit home, specifically in the early sonatas, is the enormous superiority of Orfeo’s recordings, which are clearer, better focused and generally far more listenable than their Decca counterparts. As to the performances, take the slow movement of Op 7 which has greater breadth than on the 1957 Decca (stereo) recording (Gulda’s Amadeo version – now on Brilliant Classics, see above – was swifter even than the Decca), and where the poise and pacing are pretty close to perfect. The first movement of the Decca Moonlight, infamous in its day, swims in a sea of sustain pedal, an effect that Gulda hadn’t yet hit upon in the early 1950s, much to one’s relief. The Tempest, Waldstein and Appassionata sonatas are startlingly red-blooded (the Waldstein’s first movement in particular is charged with an unusually high level of nervous energy) and the later sonatas capture that almost inexpressible combination of physical confrontation and spiritual engagement that only the greatest Beethovenians can muster. Gulda was always at his best in the last three sonatas but his Decca Hammerklavier, for all its trimness and brilliance, rarely matches this one for impact. Gulda could charm, too, and you’d have to go a long way to find a more lyrical reading of the G major Sonata, Op 14 No 2. It is hardly credible that all this interpretative accomplishment was achieved by a pianist who, at the time, was still only in his early twenties, and who would subsequently divide his musical activities between the Viennese classics and varieties of jazz. There are certain records that seem to capture the very moment when a fledgling virtuoso first confronts a great corpus of musical work, and this marvellous set represents such a confrontation."
This set strikes me also as very fine. Because my vintage stereo system is an excellent one, and because we are now so spoiled by recordings such as Paul Lewis's on Harmonia Mundi, which, say what else you will about it, is pretty fabulously recorded, the sound of even a very good mono transcription can be an obstacle. I'm still getting into my Solomon, for example. So I'll let the wiser heads do the talking for now. Gramophone also handed this set "Gramophone Awards 2010 Best of Category - Historic Archive," which to some of us might translate as "The Moldy Fig Award for Expensive Box Set that's Supposed to be Great but We'll Never Listen to." Right now, I hear a great deal of magic in Gulda, but will update as I get into it more. Are we so accustomed to great sound, that we no longer know what sounds great? Could be. As I've mentioned elsewhere, my upstairs neighbor is a retired Austrian woman. She and her husband sometimes entertained Gulda in their apartment, with its view over the George Washington Bridge. Ulrike was somewhat taken aback when I blurted out "Gulda? Why, he's a genius!" At time of that blurting, my genius rating of Gulda was based solely on his Beethoven Complete Works for Cello and Piano with Pierre Fournier, just a wonderful 2-CD set, a must-own. Start there maybe? Sound on that one's great, though recorded in 1959.
Comparison to recent digital stereo: I listened to the first two sonatas performed by Gulda and then the same from Garrick Ohlsson's recently completed Beethoven cycle. Both are fine performances. The big difference is how much more open and airy the sound stage is with Ohlsson's set. The recording also has much more sparkle. It feels much more alive.