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Search: 4. Rondo (Allegro ma non troppo)

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1.Wilhelm Backhaus - Decca Beethoven Sonatas by: Wilhelm Backhaus
March 13, 2006


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2.Beethoven: The 32 Piano Sonatas by: Wilhelm Kempff
September 08, 2008


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3.Beethoven: The Violin Sonatas by: Arthur Grumiaux
May 14, 2007


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4.Beethoven: Complete Violin Sonatas by: Wolfgang Schneiderhan Carl Seemann
July 11, 2005


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5.Beethoven: Violin Sonatas by: Itzhak Perlman Vladimir Ashkenazy
May 15, 2006


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6.Gulda plays Beethoven by: Friedrich Gulda
July 11, 2005
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During the course of his career Gulda earned a reputation and as an enfant terrible of the classical scene, a reputation which he appears to have cultivated quite assiduously. Yet back in the 1950s, as the notes to this edition point out, Gulda was regarded as the most promising young talent of his day ahead of names like Brendel. Listen to this and you can hear why. Gulda's Beethoven is robust and forthright. His playing is muscular, his tempi are generally quite fast and he seems on the whole more interested in illuminating the structure of the pieces rather than their lyricism when this is called. This approach is the antithesis of Kempff, but Gulda brings it off perfectly. A real oddity in the set is Gulda's performance of the first movement ... Read More:

7.Beethoven: Piano Sonatas Nos 8, 15 & 21 from: Decca Eloquence
June 23, 2004
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During the course of his career Gulda earned a reputation and as an enfant terrible of the classical scene, a reputation which he appears to have cultivated quite assiduously. Yet back in the 1950s, as the notes to this edition point out, Gulda was regarded as the most promising young talent of his day ahead of names like Brendel. Listen to this and you can hear why. Gulda's Beethoven is robust and forthright. His playing is muscular, his tempi are generally quite fast and he seems on the whole more interested in illuminating the structure of the pieces rather than their lyricism when this is called. This approach is the antithesis of Kempff, but Gulda brings it off perfectly. A real oddity in the set is Gulda's performance of the first movement ... Read More:

8.Beethoven: Piano Sonatas by: Wilhelm Backhaus
June 03, 2002
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During the course of his career Gulda earned a reputation and as an enfant terrible of the classical scene, a reputation which he appears to have cultivated quite assiduously. Yet back in the 1950s, as the notes to this edition point out, Gulda was regarded as the most promising young talent of his day ahead of names like Brendel. Listen to this and you can hear why. Gulda's Beethoven is robust and forthright. His playing is muscular, his tempi are generally quite fast and he seems on the whole more interested in illuminating the structure of the pieces rather than their lyricism when this is called. This approach is the antithesis of Kempff, but Gulda brings it off perfectly. A real oddity in the set is Gulda's performance of the first movement ... Read More:

9.Beethoven: Complete Violin Sonatas by: Augustin Dumay Maria João Pires
October 17, 2002
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During the course of his career Gulda earned a reputation and as an enfant terrible of the classical scene, a reputation which he appears to have cultivated quite assiduously. Yet back in the 1950s, as the notes to this edition point out, Gulda was regarded as the most promising young talent of his day ahead of names like Brendel. Listen to this and you can hear why. Gulda's Beethoven is robust and forthright. His playing is muscular, his tempi are generally quite fast and he seems on the whole more interested in illuminating the structure of the pieces rather than their lyricism when this is called. This approach is the antithesis of Kempff, but Gulda brings it off perfectly. A real oddity in the set is Gulda's performance of the first movement ... Read More:

10.Beethoven: Violin Sonatas "Spring" & "Kreutzer" by: Anne-Sophie Mutter Lambert Orkis
April 07, 2003
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During the course of his career Gulda earned a reputation and as an enfant terrible of the classical scene, a reputation which he appears to have cultivated quite assiduously. Yet back in the 1950s, as the notes to this edition point out, Gulda was regarded as the most promising young talent of his day ahead of names like Brendel. Listen to this and you can hear why. Gulda's Beethoven is robust and forthright. His playing is muscular, his tempi are generally quite fast and he seems on the whole more interested in illuminating the structure of the pieces rather than their lyricism when this is called. This approach is the antithesis of Kempff, but Gulda brings it off perfectly. A real oddity in the set is Gulda's performance of the first movement ... Read More:

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