Beethoven was a revolutionary man living in a revolutionary time. He captured his inner voice—demons and all—and the spirit of his time, and in doing so, created a body of music the likes of which no one had ever before imagined. "An artist must never stand still," he once said. A virtuoso at the keyboard, Beethoven used the piano as his personal musical laboratory, and the piano sonata became, more than any other genre of music, a place where he could experiment with harmony, motivic development, the contextual use of form, and, most important, his developing view of music as a self-expressive art.
This live Appassionata, from a Moscow recital of 1959, is one of the most thrilling piano performances ever recorded. Sviatoslav Richter fills every moment of the first movement with intense drama, creates the illusion of total repose in the central variations, and then takes off in the finale with an exhibition of musical virtuosity and ever-increasing tension that becomes almost unbearably intense (and unbelievably fast and accurate). The studio Pathétique is quite fine, and the Fantasy (sung in Russian!) well performed by all but still rather quaint in its effect. But don't miss that Appassionata!
"…a commanding performance of Beethoven's Choral Fantasy… Brendel's playing of the slow movement of No. 5 was for me one of the high spots of his set, for its measured calm is perfect…" –Gramophone
By giving the stringed instruments the status of genuinely equal partners with the piano, it was Beethoven who gave the piano trio the form it was to retain throughout the 19th century. This album presents the composer's last two works in the genre, Op.70 No.2 dedicated to Countess Marie Erdödy, and the celebrated 'Archduke' trio, which marked the final public appearance of its composer.
Rudolf Serkin's 1964 recording of Beethoven's Piano Concerto in C minor is surely among the greatest recordings of the work ever made, and certainly his finest performance of the work. The energy and enthusiasm and even passion he brings to Concerto in C minor is overwhelming, and indeed, it overwhelms Bernstein and the New York Philharmonic, who accompany Serkin with the sort of commitment that only a conductor and orchestra give to soloists when they are deeply inspired. But while Serkin's 1962 recording of Beethoven's Piano Concerto in E flat major is also surely among the greatest recordings of the work ever made, it is not quite Serkin's finest recording of the work.
Los Prisioneros was maybe one of the most important and seminal Chilean Rock Punk Pop bands in Latin America.