# Favorite interpretations of Beethoven Piano Sonata's



## chesapeake bay

I'm looking for individual performances of the ones that you like the best. A few of my favorites are Hans Richter-Haaser for no 1, Elisso Bolkvadze for no 3, Stewart Goodyear for no 8, Ivan Moravec for no 14, Maurizio Pollini for no 30 and Daniil Trifonov for no 32. what are some of yours?


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## Triplets

This topic has been done a lot around here, but I'll offer my two cents.
Op.7--Richter or BIS
Pathetique--Kempff
Op 31/3. Rubinstein
Appassionata. Annie Fischer
The Hammer--Richter or Pollini
Op. 109--Claudio Arrau
Op. 110 Richard Goode
Op.111 Gary Graffman


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## chesapeake bay

Yea I've gone through most of the other threads but you never know what else might turn up, whether it be older forgotten recordings or some of the newer sets


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## Pugg

chesapeake bay said:


> Yea I've gone through most of the other threads but you never know what else might turn up, whether it be older forgotten recordings or some of the newer sets


And besides this: why restrict yourself to one set?


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## hpowders

Annie Fischer's complete set.


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## shadowdancer

Annie Fischer, Emil Gilels, Claudio Arrau and Alfred Brendel.

Those are my full sets (even if Gilels is no complete). Together with a few isolated interpretations (Gulda, Barenboim, Li and Rubinstein) I am quite happy with those different approach.


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## chesapeake bay

it does appear that most people prefer complete sets. My current list is comprised of 24 different pianists for the 32 sonata's and the Andante Favori. Annie Fischer is pretty darn good though, for a full set.


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## Mandryka

chesapeake bay said:


> it does appear that most people prefer complete sets.


I do not, despite liking some of the things in many sets.

Just looking at the things you like - the Richter Haaser and the Bolkvadze - why not try Walter Gieseking's EMI op 110, which is playful and hence a valuable contrast to Pollini's. Another one which made me rethink my ideas of what Beethoven was about is Paul Jacobs's live op 10/3 on an Arbiter CD.

You mentioned sonata 14, the moonlight. There are serious issues about how to play the first movement on a modern piano, about tempo and about pedalling. I think you may find it interesting to get hold of Gulda's first recording.


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## Chordalrock

Andras Schiff for the 3rd movement of Appassionata, usually done with a tempo much too fast. Beethoven even specified "not too fast".

Gilels for the 3rd movement of Tempest, for similar reasons.

(In general I'm not picky and I like the 1980s Barenboim and Gilels for the piano tone and sound quality of the recordings.)


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## chesapeake bay

Mandryka said:


> I do not, despite liking some of the things in many sets.
> 
> Just looking at the things you like - the Richter Haaser and the Bolkvadze - why not try Walter Gieseking's EMI op 110, which is playful and hence a valuable contrast to Pollini's. Another one which made me rethink my ideas of what Beethoven was about is Paul Jacobs's live op 10/3 on an Arbiter CD.
> 
> You mentioned sonata 14, the moonlight. There are serious issues about how to play the first movement on a modern piano, about tempo and about pedalling. I think you may find it interesting to get hold of Gulda's first recording.


Excellent suggestions, I will check them out, I have listened to some of Geiseking but not op 110 specifically, I have a Paul Jacobs Debussy cd which I really like and Gulda is always worth a listen, do you by chance have his "Mozart Tapes"? they are pretty amazing. Also listened to Gary Graffman's op 111 and it was excellent... LP on the way


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## chesapeake bay

Chordalrock said:


> Andras Schiff for the 3rd movement of Appassionata, usually done with a tempo much too fast. Beethoven even specified "not too fast".
> 
> Gilels for the 3rd movement of Tempest, for similar reasons.
> 
> (In general I'm not picky and I like the 1980s Barenboim and Gilels for the piano tone and sound quality of the recordings.)


I'll go back and listen to Schiff again, I listened to his lecture series on Beethoven piano Sonata's which is excellent, but somehow I don't like his playing as much, so far the only one that has stuck is his Andante Favori which is beautiful. Gilels is also superlative I'll check that 3rd movement of the Tempest again, just need to dig out the cd in a box somewhere hehe.


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## chesapeake bay

is Gulda's first recording of no 14 the 1954 Decca?


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## Mandryka

chesapeake bay said:


> is Gulda's first recording of no 14 the 1954 Decca?


Yes. Actually Schiff is really interesting in the first movement of it too.

Gulda kept the dampers off completely in his first recording with Decca, but he didn't play it fast. In his second recording he played it fast, but he doesn't keep the dampers off. I haven't heard the Gulda one on Orfeo.

Schiff plays it fast and keeps the dampers off. The effect is spooky.

Gould plays it very well and he plays it fast - but there's no bass halo of sound around the triads in the first movement.


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## chesapeake bay

The Gulda from 54 is similar to Moravec who also plays it slow with the dampers off. I hadn't listened to Schiff recently but his adagio of the 14th is really good, the dissonance of the ringing bass notes is even more effective at what is most likely the speed Beethoven wanted it played.


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## Bradius

I like Brautigam 'cause I'm a HIPster. For modern piano, I haven't found one artist I like for the complete set. I got HJ Lim's set for about $2 which is fine. But I wouldn't regard it as a definitive set by any means. I'm still looking.


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## Pugg

Bradius said:


> I like Brautigam 'cause I'm a HIPster. For modern piano, I haven't found one artist I like for the complete set.


The Brautigam set had rave reviews as far as one can see :tiphat:


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## Antiquarian

Among the very fine choices mentioned above, I have a soft spot for John O'Conor ' s complete set on Telarc. I don't know if it is still available new, or if used is the only option. This was my first set, and one that I return to most often.


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## chesapeake bay

Just to clarify I was interested in getting favorite interpretations of individual sonata's i.e. who plays no 27 the best. So for the Brautigam set are there any that you find particularly appealing? I did venture into hip piano works I can't remember which Brautigam cd I have (packed up from moving) but I have Chopin etudes on a Pleyel and though its nice to hear it that way I do prefer modern piano's for the most part.

I hadn't listened to John O'conor before but I listened to a few on youtube and he sounds pretty solid, are there any of his that you think he does particularly well?


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## Antiquarian

chesapeake bay said:


> .
> 
> I hadn't listened to John O'conor before but I listened to a few on youtube and he sounds pretty solid, are there any of his that you think he does particularly well?


I like his performance of Sonata No. 15 in D major, op.28, soft and not mechanical sounding. But this really can be said of all his performances.


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## premont

Antiquarian said:


> I like his performance of Sonata No. 15 in D major, op.28, soft and not mechanical sounding. But this really can be said of all his performances.


I consider O'Connor's Beethoven (which I like very much) kind of modern version of Kempff's Beethoven with a tad more bite. Similar things can be said about Lortie.


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## chesapeake bay

Antiquarian said:


> I like his performance of Sonata No. 15 in D major, op.28, soft and not mechanical sounding. But this really can be said of all his performances.


Good call, this one is excellent, his phrasing and light touch (in the right places) really give this sonata the character it needs to come alive... new favorite version! thanks


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## majlis

I love the few Horowitz recorded, but on the generals, I also love great Gilels. And the 28 by Solomon (!!)


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## chesapeake bay

majlis said:


> I love the few Horowitz recorded, but on the generals, I also love great Gilels. And the 28 by Solomon (!!)


I've listened to Gilels and Solomon who are both excellent with B's piano sonatas and actually Solomon's 28 was just edged out by pollini as my favorite . I hadn't listened to Horowitz though, he is excellent as well.


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## KenOC

Today I'm listening to a set I've never hear before, Aldo Ciccolini. Probably best known for his Satie!

I'm surprised by the virtues of his playing. He obviously knows the music intimately and has definite ideas on how to play it. Although quite old when he recorded this cycle, he is accurate and, where needed, forceful. Overall, from the sonatas I've heard so far, I'd characterize his approach as "classical." Interpret that as you will!


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## DavidA

KenOC said:


> Today I'm listening to a set I've never hear before, *Aldo Ciccolini*. Probably best known for his Satie!
> 
> I'm surprised by the virtues of his playing. He obviously knows the music intimately and has definite ideas on how to play it. Although quite old when he recorded this cycle, he is accurate and, where needed, forceful. Overall, from the sonatas I've heard so far, I'd characterize his approach as "classical." Interpret that as you will!


I have him playing Liszt. A very fine pianist.


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## chesapeake bay

KenOC said:


> Today I'm listening to a set I've never hear before, Aldo Ciccolini. Probably best known for his Satie!
> 
> I'm surprised by the virtues of his playing. He obviously knows the music intimately and has definite ideas on how to play it. Although quite old when he recorded this cycle, he is accurate and, where needed, forceful. Overall, from the sonatas I've heard so far, I'd characterize his approach as "classical." Interpret that as you will!


Ciccolini is indeed excellent at Beethoven, He is my pianist of choice for sonata no 31


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## PeterF

My favorite recordings of Beethoven's Piano Sonatas are by - Kempff / Buchbinder & R. Serkin.


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## fluteman

For a complete set, Backhaus, though he died before he could record the Hammerklavier in stereo. I'm also a fan of many listed here, including Brendel, Gulda and Annie Fischer.


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## EarthBoundRules

Brendel all the way!


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## dieter

Claudio Arrau.Richter. Gilels.


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## JACE

I'll play. Here's my list, as of today, subject to change at any moment! 

No. 8 _Pathetique_ - Rudolf Serkin
No. 14 _Moonlight_ - Ivan Moravec
No. 15 - Rudolf Buchbinder (Teldec)
No. 17 _Tempest_ - Bruce Hungerford
No. 21 _Waldstein_ - Emil Gilels (DG)
No. 23 _Appassionata_ - Rudolf Serkin
No. 24 - Rudolf Buchbinder (Teldec)
No. 25 - Rudolf Buchbinder (Teldec)
No. 26 _Les Adieux_ - Emil Gilels (DG)
No. 28 - Solomon
No. 29 _Hammerklavier_ - Solomon
No. 30 - Solomon
No. 31 - Solomon

Regarding the other sonatas: I haven't formed a strong opinion about a single favorite pianist. But I'm working on that!


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## Pat Fairlea

I cannot rate one pianist over another for Beethoven sonatas as a whole. Gilels was brilliant in some, Solomon in others. But for the late sonatas - Les Adieux onwards - give me Brendel.


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## DavidA

There are some truly awesome performances. It's so difficult to pick a definitive performance.


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## chesapeake bay

JACE said:


> I'll play. Here's my list, as of today, subject to change at any moment!
> 
> No. 8 _Pathetique_ - Rudolf Serkin
> No. 14 _Moonlight_ - Ivan Moravec
> No. 15 - Rudolf Buchbinder (Teldec)
> No. 17 _Tempest_ - Bruce Hungerford
> No. 21 _Waldstein_ - Emil Gilels (DG)
> No. 23 _Appassionata_ - Rudolf Serkin
> No. 24 - Rudolf Buchbinder (Teldec)
> No. 25 - Rudolf Buchbinder (Teldec)
> No. 26 _Les Adieux_ - Emil Gilels (DG)
> No. 28 - Solomon
> No. 29 _Hammerklavier_ - Solomon
> No. 30 - Solomon
> No. 31 - Solomon
> 
> Regarding the other sonatas: I haven't formed a strong opinion about a single favorite pianist. But I'm working on that!


Thanks JACE there are a few here I will have to check out, the 2 Serkin and Buchbinder.


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## chesapeake bay

DavidA said:


> There are some truly awesome performances. It's so difficult to pick a definitive performance.


Indeed it is, that's why I am always happy to get any further recommendations, it's always worth listening to more Beethoven


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## DavidA

chesapeake bay said:


> Indeed it is, that's why I am always happy to get any further recommendations, it's always worth listening to more Beethoven


I have wonderful performances of Beethoven sonatas from the following artists:

Kempff - his 1950s version generally preferred to his later version
Schnabel - erratic in places but full of probing questions
Solomon - towering Hammerklavier
Richter - doesn't take prisoners
Serkin - no frills but what playing
Annie Fischer - recording dry but she is mesmeric
Pollini - supreme technician in the late sonatas
Gilels - lion like playing
Glenn Gould - different but challenging - ignore his Appassionata
Kovacevich - modern day Serkin.


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## hpowders

To all the favorites, I would add Ronald Brautigam performing all 32 sonatas on reconstructions of fortepianos used in Beethoven's day. Not a bland historical exercise. These are terrific performances. Brautigam is a great musician!


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## Zefiro Torna

hpowders said:


> To all the favorites, I would add Ronald Brautigam performing all 32 sonatas on reconstructions of fortepianos used in Beethoven's day. Not a bland historical exercise. These are terrific performances. Brautigam is a great musician!


He sure is, virtuoso and expressive, creating great sonorities from those fortepianos. But there are many moments when it sounds more like a caffeinated player piano and less an human performance. Have to revisit his Beethoven eventually.


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## starthrower

I only have CDs by John O'Conor, and Louis Lortie. Love O'Conor, and Lortie is fine with the exception of no. 14. First movt is way too slow.


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## hpowders

Zefiro Torna said:


> He sure is, virtuoso and expressive, creating great sonorities from those fortepianos. But there are many moments when it sounds more like a caffeinated player piano and less an human performance. Have to revisit his Beethoven eventually.


It's amazing to hear these sonatas played as close as we can get to the way they were intended to be played.

It also demonstrates for us the tortuous constraints of those early keyboards that Beethoven had to work against.


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## Bettina

hpowders said:


> It's amazing to hear these sonatas played as close as we can get to the way they were intended to be played.
> 
> It also demonstrates for us the tortuous constraints of those early keyboards that Beethoven had to work against.


Good point. Those early keyboards had a very limited range and volume. That makes Beethoven's achievement even more impressive!


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## shostythesnowman

As a whole cycle I like Daniel Barenboim's recordings. But individually I like Emil Gilels, and several small one-time pianists.


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## hpowders

Bettina said:


> Good point. Those early keyboards had a very limited range and volume. That makes Beethoven's achievement even more impressive!


Yes. And was he ever frustrated with those primitive (for him) fortepianos. He was constantly auditioning newer and bigger keyboards.

What a shame that Beethoven couldn't experience the joy of a modern Steinway (that we all take for granted now) before his hearing deteriorated. I wonder how his piano writing might have turned out differently if he had the sound of a Steinway in his head to write for. I can imagine him writing the Hammerklavier Sonata and being so frustrated with the best instruments of the time as being so inadequate for what he was trying to do.

One can hear that strain in Brautigam's fortepiano performance of the Hammerklavier as the instrument can barely handle it.


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## Pugg

shostythesnowman said:


> As a whole cycle I like Daniel Barenboim's recordings. But individually I like Emil Gilels, and several small one-time pianists.


I second this, no reservations at all.


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## hpowders

So in summary, Annie Fischer and Bruce Hungerford for wonderful modern piano performances and the astonishing Ronald Brautigam on fortepiano. All a Beethoven lover could ever wish for!


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## Pugg

starthrower said:


> I only have CDs by John O'Conor, and Louis Lortie. Love O'Conor, and Lortie is fine with the exception of no. 14. First movt is way too slow.


I did dig the Lortie up, going to give them a spin.


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## chesapeake bay

Pugg said:


> I did dig the Lortie up, going to give them a spin.


Lortie is very good with the early sonata's


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## Pugg

chesapeake bay said:


> Lortie is very good with the early sonata's


I've got this one on Chandos.

Beethoven:
Piano Sonata No. 28 in A major, Op. 101
Piano Sonata No. 29 in B-flat major, Op. 106 'Hammerklavier'
Louis Lortie (piano)


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## Il_Penseroso

Backhaus and Kempff. Slow tempi with careful articulation.


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## Vaneyes

Favorites for all can probably be found from Gulda, Schnabel, Pollini, Gilels. :tiphat:


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## Bettina

I like many of Charles Rosen's interpretations. It's interesting to listen to his recordings while reading his book "Beethoven's Piano Sonatas: A Short Companion." 

I like how he explained his interpretive decisions in the book. That's something that most performers don't offer.


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## chesapeake bay

Pugg said:


> I've got this one on Chandos.
> 
> Beethoven:
> Piano Sonata No. 28 in A major, Op. 101
> Piano Sonata No. 29 in B-flat major, Op. 106 'Hammerklavier'
> Louis Lortie (piano)


How are those 2?


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## chesapeake bay

Vaneyes said:


> Favorites for all can probably be found from Gulda, Schnabel, Pollini, Gilels. :tiphat:


 Go on give me a few specifics


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## chesapeake bay

Bettina said:


> I like many of Charles Rosen's interpretations. It's interesting to listen to his recordings while reading his book "Beethoven's Piano Sonatas: A Short Companion."
> 
> I like how he explained his interpretive decisions in the book. That's something that most performers don't offer.


Any particular stand outs for you? I have read many of his books but so far I've only listened to his Bach and Debussy.


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## Pugg

chesapeake bay said:


> How are those 2?


Very different from Pollini buy absolutely worth hearing, Lortie has a very nice touch on the keyboard.


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## lextune

A difficult topic, due to the embarrassment of riches.

The first that jumps to mind as truly exemplary though is Richter in the Tempest, (he is almost beyond belief the way he makes the whole notes starting in measure 22 ring out over the other voices, I have never heard anyone else achieve this effect). 




Arrau is also quite memorable in op.111, (Arrau's entire set in wonderful).


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## Bettina

chesapeake bay said:


> Any particular stand outs for you? I have read many of his books but so far I've only listened to his Bach and Debussy.


I especially like Rosen's performance of the Hammerklavier.

In _The Classical Style_, he discussed how the interval of a third functions as a unifying motive throughout this sonata. He brought this out very nicely in his recording of the work, emphasizing this interval and its various transformations.


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## ilovegrieg

Sonata #26, Op. 81a "Les Adieux/Das Lebewohl": Vladimir Ashkenazy 
Sonata #30, Op. 109: Emil Gilels, Grigory Sokolov


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## TSWO

Op. 111 1st part: Richter
Op. 111 2nd part: Annie Fisher 
Waldstein: Arrau
Op. 2 no.1: Richter

Just on top of my head


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## Valjuan

This is an extremely difficult question to answer. Personally, it depends on my mood. I'm an old soul for the most part; Wilhelm Kempff is my go-to, especially when I'm studying a particular sonata. However, Barenboim is also good, but his tempos tend to be slower in spots that drive me nuts. For a more modern set, it's hard to go wrong with the Schiff. Also, the Schiff lectures are an absolutely wonderful companion. All this being said, there are amazing other recordings of the complete sonatas (Fischer, Brendel, Ashkenazy) as well as select sonatas (Gilels, Richter). Keep exploring!


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## Valjuan

To answer your question about specific sonatas, here are a few:

Op. 109, 110, 111: Wilhelm Kempff
Op. 27 No.2, Op. 53: Dubravka Tomsic
Op. 57: Richter/Horowitz


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## chesapeake bay

Valjuan said:


> To answer your question about specific sonatas, here are a few:
> 
> Op. 109, 110, 111: Wilhelm Kempff
> Op. 27 No.2, Op. 53: Dubravka Tomsic
> Op. 57: Richter/Horowitz


I've listened to all of Kempffs as well as Richter and Horowitz but I've not yet listened to Tomsics "Moonlight", I love her Beethoven piano concertos (I have 3 and 5) so it is definitely worth listening to


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## Vaneyes

chesapeake bay said:


> {re _Gulda, Schnabel, Pollini, Gilels} _Go on give me a few specifics


Won't do all your work for you. Listen, and you shall receive.


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## hpowders

Just get the entire Annie Fischer set. Every performance is at or near the very top.


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## Pugg

Vaneyes said:


> Won't do all your work for you. Listen, and you shall receive.


If you only could see the smile on my face.....


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