BEETHOVEN Klaviersonaten Nos 22 23 24 27 4744512

. . . he whips up a storm of dazzling ferocity.

. . . this new programme finds Pollini on fine form, strong-fingered as ever, relishing the rich harmonic world of Op. 54 and bringing a wealth of varied nuances to the finale Op. 90.

Warmly recommended . . .

His Schumann is classically elegant and precise, cutting like a laser through every thorny obstacle and making perfect sense of even the wildest idiosyncrasy . . . yet never mistaking poetry for prose. Every detail seems illuminated from within . . . yet never at the expense of naturalness or continuity . . . Here, the sonority is glistening and distinctive, the rhythm pliant and subtle and the tonal translucence in the gently propelled finale is pure early Pollini.

Mr. Pollini is known for objectifying his Beethoven, offering note-perfect authoritative looks at scores with structural unity . . . there is a lot to learn about the structure and balance of these works, and Mr. Pollini can offer them the clarity and patience and power they require . . .

[In the first movement of the "Appassionata"] I was reminded all over again what a superb performer he is. Articulate but nervy, always moving on, making you feel how the present not only defines what has gone before but contains the future -- at his best he is still a giant among Beethoven players. No one to touch him! The last dissonant outburst near the close of the first movement of the F major Sonata, Op 54, is another electrifyfing moment. [...] The more I return to this recital the more pleasure I take in the authentic voice and energy and this interpreter's all-seeing-eye.

I have come to appreciate Maurizio Pollini's Beethoven the more I listen to it. . . . wonderfully recorded DG set . . . the very concluding bravura passages of his Vienna "Appassionata" are played with tremendous passion and force, a rarity in a Pollini recital. . . . There is a gentle charm in this music that only a great artist can bring out. . . . The engineers really caught the mellow but piquant tone of the Steinway Pollini uses. The movement is a classic study in limpidity, warmth, and gentleness. This is classical music played classically, with taste, sensitivity, and deep intelligence. Pollini really is at the service of the music, an attitude that finds expression in every note he plays. Highly recommended.

If you only collect four of Beethoven's 32 piano sonatas, these should be the ones . . .

This new CD is a truly APollinic achievement.

Musiker, Pianist, Musikdenker -- Maurizio Pollini gehört zu den perfekten Klassikkünstlern heute, im Sinne vollkommener Balance von Handwerk und Vision. ... Pollinis Anschlagstransparenz, besonders im weit aufgefächerten Akkordspiel, sein leuchtendes Kantabile, sein unbestechliches rhythmisches Ebenmaß -- größer, härter sind Beethoven-Sonaten kaum gespielt worden.

Pollinis geradezu triebhafte Energie und sein kompromisslos wuchtiger Zugriff
erfahren erst durch exakteste Textrealisation, differenzierteste Anschlagskunst die
Beglaubigung: Im harmonisch weit gefächerten Akkordspiel, selten so durchhörbar wie hier, steckt Beethovens Wahrheit.

Apollinien, mais dyonisiaque tout autant. La marque du grand art.

Apollinian, yet Dionysian as well. The mark of great art.

Cette appréhension de Beethoven, que l'on qualifie traditionnellement d'apollinienne, a été superbement défendue en studio par Maurizio Pollini.

. . . no solamente unas versiones de referencia sino una muestra de la exactitud técnica que alcanza prácticamente el límite de la perfección. ... una muestra de cómo Pollini también es capaz de adentrarse en los secretos más recónditos de las obras y extraer de ellas una serie de matices de sonido que solamente están en las manos de los grandes maestros del teclado. . . . Un Beethoven exacto a nivel técnico y de una carga pasional idénticamente relevante . . .

Son interpretaciones de una madurez, una energía, una fuerza y un valor dramático singulares.