Customer Rating:  
Summary: The Hammerklavier
Comment: There is one reason to buy this cycle and that is the Hammerklavier. I rate Barenboim's performance of this sonata, the Op 106, as one of the major achievements in the history of piano playing. Especially the third movement, the adagio, is performed in such a manner that it beggars belief, the sheer beauty of it, the intensity of it, the tragedy of it... it is all brought out by Barenboim in masterly fashion. Here, in the adagio, is where Barenboim's slow playing connects perfectly with the score. The rest of this cycle is not anything I ever listen to anymore.
Customer Rating:
Summary: Epic collection with one major flaw
Comment: What flaw you're wondering? The slow moments are just too slow. It's not that I'm against slow music if that's what you're wondering, but Beethoven surely didn't mean for this music to be played at such tortoise paced speeds. I have heard at least 2or 3 renditions by other pianists of the slow movements and they are all faster. Barenboim surely meant to play these at his own peculiar tempo. Whether to be "iconoclastic" or not I think he misses the mark. Listening to the Waldesntein finale is excrutiatingly frustrating. Playing it more slowly does not add to the emotional impact at all, quite the opposite as you spend more time subconsciously urging on the dozy pianist closer to Beethovens intended vision.
Other than that, this set is great. Although recorded in the late 60s, the (stereo) sound is clear and crisp. The microphone sounds like it's placed at an ideal position not so far away as to sound distant and cold, not too near to near get that "can't see the wood for the trees" effect similar to viewing a painting too close up.
As for the music itself, Beethoven was one of the first composers to fully explore the *dynamic* possibilities of the instrument, rather the "alternative harpsichord" attitude that had prevailed before. So rather than relying on an endless run of pleasant little ditties he's not afraid to throw in some fortissimo chords in, which might wake you up with a bang if you have this of for "relaxation". The piano was arguably Beethovens instrument of choice for his deepest personal expression,so expect a wide range of moods contained herein. There is as you may expect the typical minor key excurions into almost mystical melancholy and fear, but he wasn't averse to a bit of playfulness here and there. It's quite a rollercoaster ride for the emotions.
The box itself is quite spartan in presentation. 10 CDs in individual cardboard sleeves showing a detail of Barenboim at the piano. One booklet with liner notes explaining the history of most of the famous sonatas.
So overall,good for the price. However, for the slow movements you may want to look elsewhere for more satisfying performances.
Customer Rating:
Summary: Extraordinary music
Comment: I've owned many Beethoven sonatas, but never before a complete set - the good price won me. I have no way of judging whether this now elderly set cuts the mustard with newer sets or versions by other great pianists. All I know is this; this is extraordinary music, of great depth and expression. It is typical Beethoven, meaty, rock-solid stuff that knows exactly where it's going and gets there. That Daniel Barenboim gets across this message means (to me anyway) that it must be good.
Customer Rating:
Summary: Barenboim's Beethvoen
Comment: I heard Bachaus play all Beethoven recitals at Carnegie Hall, in NYC. At that time he was the acknowledged master of the Beethvoen Sonata. With Barenboim, the old order changeth, yielding place to new. These recordings have fire, tempestuousness and passion, all emotions that belong in Beethoven.
Customer Rating:
Summary: One of the very best ever
Comment: This set has to be experienced. The clarity of these performances is beyond belief. If it's not the best set of Beethoven Sonatas, it is certainly among the very best. Take for example the first movement of Sonata number 21. It is so easy to have a performer play all the notes just as Beethoven wrote them and yet leave the listener in a morass of confusion without the slightest idea of what he had in mind. Not here. The ideas pour forth in a white light that has to be experienced. It really has to be experienced!! I love these performances. I will play them until I die. Oh...and the recordings are technically excellent. At least when played through Levinson electronics and Maggies....superb!
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