The complete works of Beethoven on 85 CDs plus a supplement particularly outstanding recordings of the past on 15 CDs!
Including the 32 legendary piano sonatas, played by the eccentric talent of the century Friedrich Gulda
Covering the breadth of Beethoven’s complete output, this updated 86-CD box set is a staggering collection featuring performers including Alfred Brendel, Sir Colin Davis, David Zinman, Herbert Blomstedt, Staatskapelle Dresden and the London Symphony Orchestra.
Featured works include: Symphonies, Piano Concertos, Violin Concerto & Romances, Overtures and other orchestral works, Fidelio, Leonore, Septet, Sextet, String Quintets, String Quartets, String Trios, Violin Sonatas, Cello Sonatas, Chamber music for flute, Music for winds and brass, Piano Quintet, Clarinet Trio, Piano Sonatas & Variations, Songs, Masses.
Beethoven was the last great composer to write string trios, and his are the finest works of their type. Mozart hardly touched this particular combination, and Haydn wrote quite few very early works which are now completely unknown. In any case, Haydn used two violins and a cello, whereas with Beethoven the standard combination became violin, viola, and cello. These are all early works, expert examples of all that Beethoven learned from Haydn and Mozart in preparation for the writing of his first great string quartets. But far from being mere composition exercises, these are highly rewarding works on their own, and these outstanding performances make the best possible case for their claim to be ranked among Beethoven's chamber music masterpieces.
Fifteen years after his recording of Bach’s three Sonatas for viola da gamba and harpsichord (on hm, with Rinaldo Alessandrini), Paolo Pandolfo returns to this repertoire a new approach: the fruit of active and concentrated years of consideration, study and research into the inherent possibilities of his instrument. Given the basic differing natures of these two instruments, the performance of these works very often turns – in Pandolfo’s words – into a “musical argument”, rather than what is demanded by the music’s essential nature: a “musical conversation” in which the score achieves “transparency and eloquence”.