Grinberg: Beethoven - Piano Sonatas (9 CD box set, APE)
Grinberg: Beethoven – Piano Sonatas (9 CD box set, APE)

Composer: Ludwig van Beethoven
Performer: Maria Grinberg
Audio CD
Number of Discs: 9 CD box set
Format: APE (image+cue)
Label: Melodiya
Size: 2.13 GB
Recovery: +3%
Scan: yes

CD 01
01. Allegro
02. Adagio
03. Menuetto. Allegretto
04. Prestissimo
05. Allegro Vivace
06. Largo Appassionato
07. Scherzo. Allegretto
08. Rondo. Grazioso
09. Allegro Con Brio
10. Adagio
11. Scherzo. Allegro
12. Allegro Assai

CD 02
01. Allegro Molto E Con Brio
02. Largo, Con Gran Espressione
03. Allegro
04. Rondo. Poco Allegretto E Grazioso
05. Allegro Molto E Con Brio
06. Adagio Molto
07. Finale. Prestissimo
08. Allegro
09. Allegretto
10. Presto

CD 03
01. Presto
02. Largo E Mesto
03. Menuetto. Allegro
04. Rondo. Allegro
05. Grave. Allegro Di Molto E Con Brio
06. Adagio Cantabile
07. Rondo. Allegro
08. Allegro
09. Allegretto
10. Rondo. Allegro Commodo
11. Allegro
12. Andante
13. Scherzo. Allegro Assai

CD 04
01. Allegro Con Brio
02. Adagio Con Molto Espressione
03. Menuetto
04. Rondo. Allegretto
05. Andante Con Variazioni
06. Scherzo. Allegro Molto
07. Marcia Funebre Sulla Morte D’un Eroe
08. Allegro
09. Andante – Allegro – Andante
10. Allegro Con Molto E Vivace
11. Adagio Con Espressione
12. Allegro Vivace
13. Adagio Sostenuto
14. Allegretto
15. Presto Agitato

CD 05
01. Allegro
02. Andante
03. Scherzo. Allegro Vivace
04. Rondo. Allegro Ma Non Troppo
05. Allegro Vivace
06. Adagio Grazioso
07. Rondo. Allegretto
08. Largo – Allegro
09. Adagio
10. Allegretto

CD 06
01. Allegro
02. Scherzo. Allegretto Vivace
03. Menuetto. Moderato E Grazioso
04. Presto Con Fuoco
05. Andante
06. Rondo. Allegro
07. Allegro Ma Non Troppo
08. Tempo Di Menuetto
09. Allegro Con Brio
10. Introduzione. Adagio Molto
11. Rondo. Allegretto Moderato
12. In Tempo D’un Menuetto
13. Allegretto

Also available:  Richter:The 100th Anniversary Edition (50 CD box set FLAC)

CD 07
01. Allegro Assai
02. Andante Con Moto
03. Allegro Ma Non Troppo. Presto
04. Adagio Cantabile – Allegro Ma Non Troppo
05. Allegro Vivace
06. Presto Alla Tedesca
07. Andante
08. Vivace
09. Das Lebewohl (Les Adieux). Adagio – Allegro
10. Die Abwesenheit (L’absence): Andante Espressivo
11. Das Wiedersehen (Le Retour). Vivacissimamente
12. Mit Lebhaftigkeit Und Durchaus Mit Empfindung Und Ausdruck
13. Nicht Zu Geschwind Und Sehr Singbar Vorzutragen

CD 08
01. Etwas Lebhaft, Und Mit Der Innigsten Empfindung. Allegretto Ma Non Troppo
02. Lebhaft, Marschmassig: Vivace Alla Marcia
03. Langsam Und Sehnsuchtsvoll. Adagio, Ma Non Troppo, Con Affetto
04. Geschwinde, Doch Nicht Zu Sehr, Und Mit Entschlossenheit. Allegro
05. Allegro
06. Scherzo. Assai Vivace
07. Adagio Sostenuto. Appassionata E Con Molto Sentimento
08. Largo – Allegro Risoluto

CD 09
01. Vivace Ma Non Troppo
02. Prestissimo
03. Andante Molto Cantabile Ed Espressivo
04. Moderato Cantabile Molto Espressivo
05. Allegro Molto
06. Adagio Ma Non Troppo – Fuga. Allegro Ma Non Troppo
07. Maestoso – Allegro Con Brio Ed Appassionato
08. Arietta. Adagio Molto Semplice E Cantabile

He Can’t Be That Good

… because after all, he’s not Schnabel, who for my generation was – as Harold Schonberg wrote – “The Man Who Invented Beethoven”. And Schnabel was incomparable in slow movements, a quality for which some rivals derided him. Perl can’t be that good because he is not Brendel, an acknowledged intellectual. He’s not Arrau, who imbibed the Beethoven tradition via Czerny, Liszt and Martin Krause. He’s not Elly Ney, profound to (for some detractors) the point of pomposity. Perl is not Backhaus who remained technically secure and illuminating right through his very moving final recital. Perl is not Kempff, incomparably elegant. Or Serkin or Annie Fischer, high-strung, but without Horowitz’s neurosis. He’s not as “interesting” as Kuerti (or Busoni must have been). He’s not as heroic as d’Albert.
I could go on and on about what Alfredo Perl is not. And then consider what he unquestionably was when these recordings were made. He was young. Young and less celebrated for being young than Gulda or Barenboim or Gelber.
So, clearly, Perl can’t be that good.
Except that he is.
Over ten years now I’ve listened to these recordings, always skeptically, convinced that Perl can’t be as good as all those luminaries and others. And each time I find Alfredo Perl’s Beethoven as good as anyone’s, if not better.
His technique reveals the text, like Backhaus’s; his tone is kaleidoscopic and burnished like Arrau’s. He is heroic. He is elegant. He is profound, without ever posturing. Perhaps in slow movements he’s not Schnabel, but who is?
This is a remarkable set. In a better time Perl would be better known. Don’t miss this chance to make his acquaintance – and Beethoven’s.


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