Search - Ludwig van Beethoven, Emil Gilels :: Beethoven: Sonataen - Waldstein, Les Adieux, Appassionata

Immense Gilels

Norman Duffy | Amsterdam | 11/16/2002

(5 out of 5 stars)

"When this recording of the Appassionata was first released in 1974, it was greeted with almost unanimous acclaim. It was a revelation to me personally because it was the first time that I actually realised how the piano could be played. With the Waldstein, the Appassionata is one the towering works of Beethoven's middle period. The Les Adieux is either the final or next to final sonata of that period, depending on whether or not you think of the next after the Les Adieux, no. 27 Opus 90, as the first of the final "late" period of the composer's Piano Sonatas.All of the three are difficult to play with some passages in the Waldstein being next to impossible on a modern piano. Suffice it to say that Gilels' playing is superb, almost beyond belief at times. Witness the final coda of the Appassionata, those fortissimo chords followed by the very rapid chords are miraculously played.However, I can imagine that some might find the sheer sense of control, and particularly rhythmic control, and discipline that Gilels brings less attractive than the more frenetic Richter, Serkin or any number of more volatile readings.With Gilels we are more in the realms of viewing these great compositions from an architectural point of view, so sound is his sense of structure. There is a tremendous sense of security and even predicatability here. For me, that is intensely satisfying and makes the impact of the music something that goes way beyond the pianistic achievement.It is, of course, a terrible pity that Gilels died before finishing the whole series. He had recorded most of the sonatas and the outstanding ommission is the very last one, opus 111. That's bad enough, but when I read in Richter's notes that Gilels, with whom he had a longstanding and very difficult relationship, died as a result of a medical mishap in Moscow, the pity turns to a tragedy. Gilels was due to complete the series within a few months of his death in time for his 70th birthday in October 1986 - he died in October 1985. My question is - is this true?Nonetheless, whatever one's preference is in terms of an approach to Beethoven's piano works, give this disc a shot. I think it is a classic."

A recording not to be without for any serious collector.

Norman Duffy | 10/25/1998

(5 out of 5 stars)

"This recording represents a pillar in the classical music world. The performances of these all-time classic sonatas of Beethoven are interpreted with technical mastery, grand sound, and magnificent sensitivity. Gilels, as always, shares with us a most intimate portrait of Beethoven. This is definitely an authoritative reading and recording."

I`m a great fan of S. Richter!

roberto guersoni giarola | Philadelphia, PA USA | 12/12/2000

(5 out of 5 stars)

"Unfortunately , he did not record all the beethoven sonatas . The same thing happened with Gilels , he left 5 of sonatas without record at the time of his death.There are more things in common between this two pianist , the puissant treatment of the keyboard ,typical from the russian school ,where the dynamic gives brakes and accelerations , at the right time , in the right places , bringing vitality and contemplation together!. This two adjectives are not easier to find in the same interpretation! I was very gratified when I listened this cd for the first time .Although I was used with different pianists like Pollini and Richter , I thought it outstanding. Even though I had this 3 sonatas with Pollini , I bought this cd with Gilels. NO REGREAT , NO REMORSE. Despite the fact of my great respect about C . Arrau , I don`t like his interpretations of beethoven . I feel like if he never " take off" , always in the same mood ( too slow !). In my humble opinion , it`s not express agreement with Beethoven ideas , and behavior."