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HH 2063
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HH 2063

BEETHOVEN, L. van: Piano Sonatas Nos. 20, 21, 23, 28 and 30 (Gieseking) (1938-1940)

The Classical Shop
release date: November 2011


Walter Gieseking



New York City, US

Berlin, Germany

Record Label




Total Time - 78:47
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BEETHOVEN, L. van: Piano Sonatas Nos. 20, 21, 23, 28 and 30 (Gieseking) (1938-1940)



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Piano Sonata No. 20 in G major, Op. 49, No. 2

1 I. Allegro ma non troppo 3:31

Piano Sonata No. 20 in G major, Op. 49, No. 2


Piano Sonata No. 21 in C major, Op. 53, "Waldstein"

3 I. Allegro con brio 7:18
4 II. Introduzione: Adagio molto 3:10
5 III. Rondo: Allegretto moderato - Prestissimo 8:13

Piano Sonata No. 23 in F minor, Op. 57, "Appassionata"

6 I. Allegro assai 8:22
7 II. Andante con moto 6:41
8 III. Allegro ma non troppo - Presto 6:43

Piano Sonata No. 28 in A major, Op. 101

9 I. Etwas lebhaft und mit der innigsten Empfindung 4:07
10 II. Lebhaft. Marschmassig 4:12
11 III. Langsam und sehnsuchtsvoll 2:19
12 IV. Geschwind, doch nicht zu sehr, und mit Entschlossenheit 5:20

Piano Sonata No. 30 in E major, Op. 109

13 I. Vivace ma non troppo 3:36
14 II. Prestissimo 1:59
15 III. Gesangvoll, mit innigster Empfindung: Andante molto cantabile ed espressivo 10:13
 Walter Gieseking Soloist

Hailed as ‘the new Anton Rubinstein’ early in his career, Walter Gieseking sought to convey all the excitement and drama in Beethoven’s piano sonatas. This 1939 recording of the Waldstein Sonata was described in Gramophone as ‘distinguished by an amazing range of tone-colour, a never-failing sensitiveness to the demands of the music, and tremendously vital rhythm.’ The ‘Appassionata’ was received in America as ‘a superb recording that conveys the most subtle nuances as well as emotional vigour’, and the Sonata Op. 101 as ‘one of the finest interpretations and recording…the work emerges with a balance and clarity that could not be improved upon.’

"Walter Gieseking ... at his finest…offers playing of an astonishing fleetness and patrician beauty. Gieseking creates his own distinctive ambience and, like a river in full spate, sweeps all before him. Gieseking once again creates his own entirely personal sense of menace and power. Such playing, like being at the centre of a vortex and by the pianist’s own admission, had little to do with hours spent in the practice room but rather with an innate musical and technical talent and perception. All lovers of an entirely individual pianistic genius will have to have this and, once again, Ward Marston’s restoration is exemplary."

Bryce Morrison - Gramophone magazine - December 2011

"So I wonder; was Gieseking thinking here of the fortepiano? Textures are kept light and clean—the opening chords of the Waldstein are sometimes quoted as the sort of Beethoven that sounds muddy on the modern piano, but not when Gieseking plays them. The Beethovenian argument is conveyed with speed and vitality, the pianist even seeming to run over his own fingers at times... performances to make you reassess your reactions to the music. And teachers and parents of children learning op.49/2 should consider the modest price worth paying just for a perfect performance of that little work."

Christopher Howell - - January 2012

"...Do listen to these performances. They are not mainstream, but they are very satisfying indeed."
William Hedley - - March 2012

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