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Availability:
Only 4 left in stock, order soon!
Arrives
Monday, Aug 17
Description
DGG 4777958; DEUTSCHE GRAMMOPHON - Germania; Classica da camera Piano
Language : English
Product Dimensions : 5.31 x 5.12 x 0.91 inches; 8.11 ounces
Manufacturer : DG IMPORT
Item model number :
Department : All Ages/Unisex
SPARS Code : ADD
Date First Available : August 11, 2008
Label : DG IMPORT
Number of discs : 8
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Top Amazon Reviews
Over time, my favorites change, but I can honestly say that Kempff's Beethoven Piano Sonatas have continued to give great pleasure. The recording quality is fine. The acoustic is very good. His playing is gentle and even a bit whimsical at times. I never get the sense that he has to impress anyone. His playing does not have all of the sturm and drang that you can sometimes expect with mature Beethoven. I much prefer this packaging. The capbox with paper sleeves is a quarter of the size of the last incarnation with two 4-disc jewel boxes held together by a cardboard sleeve. It thought that was good packaging years ago before I had 1000's of discs. The old style of sets takes so much space!! I prefer this set to Kempff's earlier set recorded in the 1950's. I was very surprised to find that I really love Kempff's performance of Chopin's Berceuse. I did not expect him to play it so delicately. Lastly, I can say that I only recently purchased this set. I got it from Amazon Marketplace. I thought that I got a decent price, but not a steal. Now it is $20.00 cheaper than I paid. Now it is a steal!!
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Reviewed in the United States on January 24, 2010 by Amazon Customer
I only now, at age 65, have discovered Wilhelm Kempff's masterful recording of the entire Beethoven Sonata Cycle, which interestingly he recorded also when he was in his mid-60s. This is the third and final time he recorded the complete cycle. The sound quality of these Deutsche-Grammophon recordings is magnificent, the piano is wonderful and a delight to listen to in this virtuoso's capable hands. Kempff knows how to change moods according to Beethoven's explosive temperament. He can switch from tender sensitivity to brilliancy without breaking the continuity. Another nice feature of this recording is that he recorded all the repeats. These were not just copy-and-paste inserted repeats. Rather, he makes subtle changes on the repeats which illuminate the music. I was brought up on the Artur Schnabel recordings of the Beethoven Piano Sonatas. I was told that Schnabel played as Beethoven would have. The problem I have come to have with Schnabel's interpretations is his tendency to rush passages and blur passages with excessive rubato. I honestly don't believe Beethoven, with all his impetuosity as a composer, would have played his own music with such distortions. Kempff is much steadier in tempo, yet he achieves real heights of feeling appropriate to this great oeuvre. I have heard it said that Kempff's tempi were "slow". I do not find this to be the case at all. The fast-paced movements move right along at a fine clip. He has all the dexterity needed to bring off Beethoven at his most dramatic, with delicacy or bravura as the context dictates. Poetry combined with brilliancy, a wonderful combination and Kempff has it all.
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Reviewed in the United States on July 28, 2012 by Richard St. Clair
It was nearly 40 years ago when I listened some Beethoven Piano Sonatas by Wilhelm Kempff. At that time, as for Beethoven, works of Backhaus and Horowitz were appreciated as "special two" in our country, and those of Kempff was recognized "not bad but not special," by most of people. I must confess that I myself had the same impression, and the motive of my purchasing the series of CDs this time was just nostalgies. But, in spite of these memories and preconceptions, after enjoing all the CDs over I find myself very deeply touched and be so happy. Not touched to cry, but simply happy. Kempff's magical touch is heavenly soft and convincing. Not light, nor the kind of making the great substance of Beethoven cheap, of course. Thanks to the great effort of digital re-mastering, sounds of every touch become clear and bright, the softness becomes more impressive and characteristic. Those makes us easier to accept and enjoy Kempff's greatness, and of course, Beethoven's greatness. Now I am sure that these Kempff's woks are the best Beethoven Piano Sonatas I've ever experienced. I strongly recommend the CDs to especially mid-age classic fans!
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Reviewed in the United States on November 25, 2011 by Danilo
I'm not a musician in any form but was raised by a very good one. My personal classical collection consists of 100-200 Scarlatti (D) cassette tapes. I decided it was time to go back for some basics and chose to find a good Beethoven sonata set. (Yes, back to the chestnuts.) Since I am no judge of what's good from great, I read most every review and opinion possible to make sure I didn't get it wrong. This Kempff collection is so good that even I can tell it's special. The piano is perfection. There is no sense of Kempff being an entity separate from his instrument. It is seamless and seemingly perfect. I have no doubt that there are other wonderful sets out there, but this work should do it for just about everyone. Rated: Worth every dime.
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Reviewed in the United States on March 25, 2013 by granite state dz
If you're looking for "Big", "Monumental", "Storming The Heavens", "Grappling With Destiny" Beethoven, then this set isn't the place to start. It's small-scale, underwrought, just-the-music-without-the biographical-and philosophical-overtones Beethoven. For some it will seem refreshing, to others severely lacking in "weight" and "gravitas". The Beethoven of the Heiligenstadt Testament and of the cryptic shaking-his-fist-at-the-heavens-on-his-deathbed stories is missing in action. What is left is the classicist basis of the music rather than the extra-musical romanticist leanings that many feel to be the essence of this composer. These tendencies are reinforced by the recording which reduces the piano image to a pinprick-size smallness and is almost completely lacking in body, weight, and tonal richness. If you heard it blind, I doubt if you'd guess that it's a 1964 stereo recording; you'd be more likely to place it as a 1955 mono recording. In fact, at first I wondered if I'd bought Kempff's 1950's cycle by mistake. Whatever, Beethoven sounds considerably limited in size here. The grand gestures sound puny and the Heavens seem confined to the height of your ceiling. The ghost of the fortepiano lives on. I found this set much better in the lesser-known and (not uncoincidentally) "smaller" sonatas. Here Kempff's approach works better than weightier interpretations which make this unpretentious music heavy-handed with some movements sounding like a series of cryptic "harumphs". Kempff by contrast always brings out the singing line of the music. But most listeners will be more concerned with the "Name" sonatas and here I have to agree that there is often something missing, call it "gravitas" if you will. In the slow movement of the "Hammerklavier" you should get a sense that you're centering in on something transcendent and I'm not sure Kempff provides this experience to the extent that some other interpreters do. I was underwhelmed here and in a number of other celebrated movements. To more mundane matters: it's cheap, the box is compact and serviceable, there is an interesting essay on Kempff's Beethoven but no analysis of the individual sonatas, and the sonatas are arranged in near-chronological order. My advice: don't buy as your ONLY Beethoven Sonatas set but if your budget can stretch to two sets it makes a refreshing counterweight to something like Barenboim or Gilels.
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Reviewed in the United States on July 17, 2010 by Lloyd J. Peasley
Kempff's Beethoven was my first favorite from long ago. There are more modern sets that are better in terms of sound reproduction, and there are slicker performances by more technically skilled pianists that can make you wonder why these old sets are still around. But Kempff has his own unique character and sound that really appeals to me. I absolutely love his cello sonatas with Fournier (live recording), where the Kempff persona really shines. So I will never give up this set. It sounds like home to me. Kempff is great to return to after overdosing on Pollini. Pollini's mid-to-late Beethoven is nothing short of awesome, but darn it, there's just something cold in his soul that after a while leaves me wanting something more, shall I say, human. Kempff is my old remedy for the new age. If you want a set that's really well recorded and technically solid get Paul Lewis or Igor Tchetuev (not yet complete cycle), and of course, if you like the Chandos sound, by all means, get the other Looey (Louis Lortie). But listen to sample clips of Kempff and see if you like his musical persona/sound.
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Reviewed in the United States on February 19, 2014 by OClaw
i thought i knew these sonatas quite well until i heard this set. if you're on this page at all reading this review, stop now and just buy it, is all i can say. i'm very happy that i did. this may be the best music purchase i've ever made (Itunes library currently displaying 174 GB of music, 71.6 days worth of audio!) i may be a sucker for slightly oldschool sounding recordings, but really the audio quality is charming. the performance cannot be praised enough. a particular favorite is the second movement of sonata #15. buy this set! you'll be happy you did.
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Reviewed in the United States on July 18, 2013 by Thomas
Sometimes I cannot believe that there are many classical fans who do not want to understand the poetry and the tone color Kempff demonstrated in Beethoven sonatas. They seem to think that Music and Sports are the same and that what matters is just technique or clarity. Klemper could seem to be just ponderous and Arrau to be just dull and Furtwengler to be just antique. But if we try them again and again, we can feel the subtle difference of attack timings, colors, ways of adding tensions and finally their freedom of thinking. For Beethoven, I think, Gillels has perfection and Kempff poetry, Kovechevich passion.
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Reviewed in the United States on February 22, 2015 by YIM PAN