The Gulda is a desert island collection for me. I imprinted on it when I heard it and it’s always been my favorite. I’ve gifted it to a few people over the years.

Whoa, I gotta listen to that last one! You're right about Kempff, he got me totally in love with these sonatas for his sheer sobriety, spontaneity and sincere warmth. He sounds like a happy man just doing what he loves while evoking every struggle he knew existed with an inexhaustible hope shining discreetly behind the tough surface of it all. My favorites are his mono cycle (which in fact I find not only preferable regarding execution but also sonically much more amiable than the stereo one, because of a less metallic sound given to the instrument) and the Orfeo Gulda. That one has all the directness and assertiveness I like in LvB (more than Kempff brings) without losing sight of the melodic currents or the lyrical and mysterious side (which Kempff translates in a mesmerizing way, better than anyone on earth, dead or alive). I just have to add this: PLEEEASE makw those videos with Jed Distler come true, I have enormous respect and admiration for his wonderful reviews and would love if he also joined this little corner of KZfaq which has become a daily ritual of musical enjoyment for me. Thanks to you, of course!

For Beethoven's anniversary year I've been listening through all of the sonatas, one by one, in the company of a clutch of pianists. I chose Kempff (DG, mono), Solomon (Testament), Gilels (DG, nearly complete), Richter (patched together), Schiff (ECM), and Levit (Sony). I thought my favourite would be Kempff, but much to my surprise the one floating to the top is ... Schiff! He's a wonderful musician, of course, but I also really like the instrument he plays. I've never heard Arrau's Beethoven, and I'm going to remedy that. Thanks for another great overview.

Thank you so much for creating this channel - it has been such a phenomenal resource for me so far, and I’ve only just scratched the surface. Your love for this music shines through in every video and it is infectious! :)

Dave - greetings. I too love both Kempff (x 2) and Arrau. We both know that it is not finished but Gilels commands attention - and I frequently turn to Backhaus' Decca survey for sonatas such as the Tempest which he plays so magisterially. Best wishes, B

My first LP was Serkin's Appassionata. That was mid fifties and I was totally entranced. I still remember that wonderful incredibly well stacked record shop in Düsseldorf. They loved their business and their klients.

Annie Fischer - when you listen to her, it's like Beethoven himself playing, I have this feelings every-time. :)

Your conclusion brought tears to my eyes. Life and art go on!

My three favorites: • Friedrich Gulda: Polished, alert, and imaginative. He shows how well Beethoven’s sonatas stand on their own, with scarcely any of the Beethoven style of playing. One commentator wrote that Gulda plays as though he’s never heard of Beethoven. That’s meant as a compliment, one with which I agree. • Claude Frank: It’s sometimes whispered that Frank is a tad sloppy, but don’t let that put you off his stellar Beethoven. Here, Frank is every bit as finger perfect as more celebrated names, and he adds a flair and obvious love for the music that shines throughout the entire set. • David Allen Wehr: It’s an injustice that Wehr’s name isn’t on a short list of the best Beethoven interpreters. Don’t let his relative obscurity fool you. This is great playing that meets the music at its own rarified level.

It warms my heart to know that Yves Nat's survey is mentioned in the comments. It was the first one I heard, and while it didn't "imprint" on me, it still to this day seems vital, energetic and modern in much the same way that Gulda's does. If any of you get the chance, I suggest you give it a try.

I love Serkin and always have. I saw him in person twice in Los Angeles - once in recital and the other performing Beethoven's 4th concerto - my favorite. It was performed with Giulini and the L.A. Phil. Serkin was a wonderful musician whose loyalty was to the music.

Totally agree with all your choices. I grew up on Serkin and Arrau, came to love Kempff a bit later, and have in recent years discovered Annie Fischer, Gulda and Brautigam's cycles. I haven't heard a note of Levit, but given how much we agree on the others, I think I'd better get my credit card out! Please keep up this wonderful series of videos!

I also like Arrau's performances especially the Moonlight Sonata. The first movement is played on the slower side but tenderly and with well done phrasing, One of the most memorable performances is Glenn Gould's avant guard performance of the Appassionata Sonata (which perportedly he did not like) where he plays the first two movements at half the tempo speed and then completes the third movement at the usual but somewhat briskier tempo. Very interesting rendition that takes some getting used to.

Got all those mentioned. Like all those mentioned. Especially the Levit. It never gets mentioned but I also really enjoy Buchbinder's 1st cycle with all the extra Beethoven piano works he recorded for Teldec. Goode & Kovacevich both have some great moments too. Everyone who truly loves and enjoys listening to different interpretations needs at least a dozen cycles of the Beethoven Sonatas (and Symphonies for that matter). So many different ways to approach them and so much joy to be found in the exploration.

I've been listening to the Gulda cycle . I always though he's a superb pianists but I think I underestimated him. A fabulous technique, unfailingly beautiful tone, sensational sense of pulse and no lack of feeling like he's giving a performance as opposed to dutifully cataloguing for posterity. He's speedy too, not a slow coach and dives Glenn Gould a run for his money in the wackiness of op 10 or 31. I am saving the last 5 sonaras for when I am in the mood.

Surprised that you didn't mention Schiff (ECM). At risk of letting my "crazy piano person" shine through, his approach (to Beethoven and other music as well) is introspective and painstakingly precise, which works wonders in the final few sonatas. I'm familiar with Levit's cycle; I'll have to listen to Arrau's. Thank you as always for a wonderful overview of most of the recordings out there.

Currently working my way through the Levit cycle, and blown away by it. It's really got everything. So far (I'm still in the earlier sonatas) I'm particularly appreciating the drama of his interpretation, and the power of it. He's really unafraid to give you a real jolt of explosiveness, and it feels so right to me. Wonderful achievement, and I can't wait to get to the later ones, now knowing that the whole set will be consistent.

For me it is Friedrich Gulda with his 3 different complete recordings, after him comes now Rudolf Buchbinder. From older recordings I like Annie Fischer, W. Backhaus. (I like what Mr. Hurwitz says about him - it is pretty accurate!)

The new Giltburg cycle is amazing. Brilliant acoustics and recording, and Giltburg's skills are absolutely top notch. He manages to achieve a fine balance between precision, tenderness and warmth. Reminds me of my old favourite Gulda, but with amazing modern sound and recording. Worth checking out!

Thanks for the review. i did a quick listen to Brautigam, i liked it and will get the set. (for reference my current fav is Pollini. I've loved Kempff and Arrau before and i may check them out again too)

It was Arrau that made me love Beethoven Sonatas. And along with those, I certainly cannot disagree with Igor Levit. But I must add another vote for Kovacevich (especially the late sonatas). I really cherish his cycle. Gilels has some tremendous recording too -- and some the simply don't connect with me. But I also think that Jonathan Biss' cycle is very fine. But thanks so much for the rundown and sharing your thoughts. It's ALWAYS a great pleasure and an education to hear what you have to say.

Hi Dave, thank you very much for your videos - I enjoy them tremendously! I`m especially glad you mentioned Ronald Brautigam´s cycle (no, I am not his mother!). To put the record straight (if nobody has done so before): The Brautigam-cycle was recorded on THREE fortepianos, each built after "modern" instruments of Beethoven´s life, and they represent the developement of piano making during Beethoven´s life. This might have been done to have "authenticity", that you may not care much about, but these recordings do not only show Brautigams musicality, but also give an idea, why Beethoven wrote certain things the way he did. We already got so used of some weird sounding Beethoven sections on modern pianos. But after Brautigam, one might want to think over the opening of the Waldstein Sonata for example. Or the realtionship of trills to all the rest of the music. Also a reason why this Beethoven-box is a must-have - in my humble opinion.

I have a special affection for Alfred Brendel's first traversal on Vox. My father had the complete set on the Murray Hill issue. learned the works from this set. t was a 21 record set with booklet. In my opinion, he displayed such an affectionate freshness, and insight that is missing from his later remakes, but his third attempt was very good. Much better than his second remake on Philips which I don't enjoy at all.

Hi, this video recently appeared in my feed. I subscribe to several classical channels on YT, but yours is quite unique, informative, light-hearted and fun. I like the emphasis on artist 'survey, retrospective, and appreciation'. I like your musical knowledge and the fact that you're sharing it here. For myself, I enjoy having more than 'one' artist's performance of a composer's work, so your insights are really helpful in assembling a collection. Liked & subscribed. Will check out your other posts.

I can only agree on Annie Fischer's cycle. This is my number one. Then Emil Gilels ( incomplete) and Andràs Schiff on ECM. Thank you for presenting us Igor Levin.

Bravo! Whilst this is a task akin with trying to empty the sea with a leaky spoon, it's a great overview! I grew up with the Barenboim EMI set; that always struck me a bit dour in places ( I know Beethoven is serious but not always humourless) and indifferently transferred to CD. Definitely give a thumbs up to Levit, particularly the late sonatas! Cheers

I’ve inherited five complete Beethoven cycles: Paul Lewis, Emil Gilels, Boris Giltburg, Bernard Roberts, and Solomon. None of which you mention. I haven’t yet investigated them, because there are lots of individual sonatas by other pianists which I’ve been playing. I remember Oscar saying that he couldn’t get into one of the concerts playing at the South Bank in London, so went to hear this virtually unknown pianist Bernard Roberts and was incredibly impressed. Serendipity can be so useful! I do value these talks of yours. Music appreciation at its best.

Stephen Kovacevich is my current favorite. A few other likable complete and non-complete cycles - Richter, Gilels, Barenboim, and Brendel.

Glad to hear the classic Rudolf Serkin recordings being mentioned. His son, the late Peter Serkin, also recorded an excellent set of the late sonatas albeit on fortepiano.

Dear David, I have been very fond of Claudio Arrau since my early youth. I had been waiting for the release of his complete recordings with Philips for many years, so that you can imagine, how happy I was when Decca finally released the fantastic box. Needless to say, I enjoy his Beethoven very much. However, some months ago I found the set of Igor Levit that my daughter got as a present as soon as the box was released. I started listening and could not stop all day. This guy has really something to say. Impressive. And the beautiful sound of the grand is well captured too. Thank you for the recommendation regarding Annie Fischer. I will have to explore!

Dave, many thanks for taking on the thankless task of tackling the ins and outs of collecting Beethoven piano sonata cycles, and for outlining some of the basic parameters involved in this pursuit. I knew this talk would be a real hoot as soon as you said that “piano people” are as crazy as “opera people.” You can say that again! The identification of Kempff and Arrau as major exemplars of two different poles of Beethoven playing/ interpretation is certainly as good a place as any to start. After that, it's anyone's guess as to where we go next. As the saying goes, There are many roads to Mecca; and as the other saying goes, All roads lead to Rome... Whenever I get a hankering to add yet another cycle to my collection, I read a gazillion reviews first... and even that doesn't necessarily set my mind on the right road. I will say that Jens Laurson's comprehensive annotated survey of complete or nearly-complete Beethoven piano sonata cycles is an invaluable resource. I once tried to compile a list of recorded cycles on my own and gave up at 40-plus before I discovered Jens's list and learned that there are well over 100 such cycles, a number that seemingly grows by the month. And “Beethoven piano people” who frequent various online forums will have come across a fellow by the name of Todd who apparently has listened to, and extensively evaluated, just about every such cycle in existence. Whew! Anyone who attempts that won't have any time to listen to Bruckner. For what it's worth, when I'm exiled to my desert island, I'll be taking Backhaus's stereo set (with his monophonic Hammerklavier) with me. But can Annie Fischer come along too? ~ John Drexel P.S. When/if I get around to writing my memoirs, I'll include a vignette about the time I was introduced, in person, backstage, to Rudolf Serkin just after he had given a recital. All I remember him saying was "Wolfgang Amadeus, Wolfgang Amadeus, Wolfgang Amadeus..."

Thanks for mentioning the Igor Levit cycle. His tone and clarity of play are beautiful. Sets that I always go back to are the ones by Claude Frank and Wilhelm Kempff. Claude Frank is not so well known may be, but his Beethoven playing is excellent, and the cd sound is very good. For historic recordings Solomon is wonderful (but probably not a complete set).

Well thanks for turning me on to Igor Levit. I have heard of him of course but not actually heard him play. Just listened to the Appassionata by Levit and wow. He brings the intensity, the passion, the dynamics, I think Beethoven would have been thrilled to hear it and would have said, "Where the hell did you get that Piano?" I have an image in my head of Beethoven, his hair thick and stick straight up off his head as if electrified, his face full of intensity and frustration and I think Levit just realized what Beethoven was tormented by - at least some of it anyway. My three cents!

I grew up listening to Schnabel's second volume of Beethoven sonatas. I never heard a version of the E-flat Major Sonata quasi una fantasia that matched his until I heard Richard Goode's version. So I bought his set after acquiring the Arrau set. I grew up listening to the Serkin recordings and still love them dearly, especially his Pathetique and A Therese sonatas. I also like Brendel, especially his Diabelli Variations.

I'm generally the type to always be in search of new music so it's rare that I continually revisit music I've heard, but the Beethoven Piano Sonatas are among the few "cycles" I never seem to tire of revisiting. Arrau's was the first set I heard when I was in my early teens. It really left an impression as for a long time I heard most all other interpretations as shallow and light. It took finally hearing Kempff's first set that I started to appreciate Beethoven played with more subtlety and nuance. Since then I discovered so many great interpretations that continued to provide new insights into these endlessly multifaceted masterpieces; two I'm surprised not to see mentioned were Gilels (sadly incomplete) and Pollini. Though he never even attempted an official cycle I also highly value Richter's approach to Beethoven and he has several of my references. I'll have to check out the Levit and Gulda.

Thank you for another highly informative and entertaining presentation. You are a gifted teacher! I always come away with new knowledge and an excitement about listening to new recordings -- or familiar recordings with new ears. In recent days, I have been absolutely loving the recordings by Annie Fischer and Igor Levit that you recommended. All the best!

I am intrigued by the Levit set. Was hoping Richard Goode or Peter Takacs would make an appearance on this list. Another fine video - thank you for these.

Among the young pianists, Stewart Goodyear brings incredible technique and velocity to his complete Beethoven Piano Sonata recordings. He actually plays the "Hammerklavier" at Beethoven's indicated metronome indications, making it sound very musical all the while.

Levit just keeps growing on me-- astounding and a heroic human being,,,

Kempff is my first choice!Pure poetry!

One of my favorites: Eric Heidsieck. His Beethoven comes from Mozart. Maybe the late sonatas are played a little bit too lightweight, but I like his approach much.

The best recording of Beethoven's late sonatas that I've listened to is Peter Serkin's. It gives me everything I need emotionally. One can always be on the look for other alternatives, though. I will check the Brautigam, whose Haydn sonatas are indeed magnificent. Funnily enough, once having listened to fortepiano, I don't wish to go back to modern piano.

You may not be opposed to Beethoven on a quality fortepiano, but I certainly am. Beethoven was unambiguous throughout his life. He was always looking for the latest and greatest in piano technology. As the instruments became more heavily strung with iron harps and increased range, he took full advantage of the advancements in his latest works. The first note below F1 occurs in Op. 101 I believe, with notes ranging down to C1 over the last five sonatas. Likewise, there are passages from the middle period that are obviously artificially limited to C7. One notable example is the 4th Piano Concerto where Beethoven repeatedly bangs his head at that C7 and has to modify parallel passages in the recapitulation as compared to the exposition. Mid 20th C. pianists had little concern extending these passages --- before the chill of historically-informed performance practice. I don't presume to speak for Beethoven on much. If he came back from the dead (fingers crossed on this one) nobody has any idea what he'd have to say on a lot of things. But in terms of pianos, the evidence is stark: he'd demand a modern piano. The only real question is whether he'd accept the dominance of the Steinway Model D, or go with something different like a Boesendorfer Imperial or maybe a Fazioli. He was very partial to light Viennese actions even in his old age. I'm just paraphrasing here, but I remember a quote from Beethoven after he completed his Op. 111 Sonata and moved on to other forms. He said that the piano remains an inferior instrument. Take that perspective and run with it.

I looked through my Beethoven sonatas "banker's box" and was shocked that Annie Fischer's box wasn't in there. I was sure that I had got it when it was released. I did manage to pick up her collection of about 2 cds of EMI Beethoven recordings in the Icon box, however. So much to listen to, so little time. Just ordered the Fischer Hungaraton box off of Amazon. Glad it's still out there. Incidentally, Gulda blew me away as well. His No. 25 made me sit up in my chair like I'd never heard the piece before. Amazing!

The Pollini set on Deutsche Grammophon is the most satisfying, particularly in the last sonatas. As for the op. 110 and 111...unparalleled in recorded history.

I lived for many years with only ONE LP of LvB sonatas, and that was Serkin’s trio of the famous named sonatas on Columbia. I was very happy with it and I still think it’s one of the best single piano disks around. Well, I now have several complete sets, including Schnabel on Dante Lys, which strikes me as a happy medium between the bright, noisy Pearl, and the overprocessed and dull sounding EMI. That said, you are entirely correct in that more modern sets give more realistic and enjoyable piano sound.

My first pick for a whole set is Barenboim first one (EMI) or the third one (DECCA). The DG one is also good but somehow never convinced me that much, and the fourth (the COVID one) was just completely unnecessary in my opinion. Brautigam period piano set is a blast. But this is just if we're talking about the whole thing. For individual pieces I'd sometimes pick other recordings. As an example - Rubinstein's 1976 recording of E-flat Op. 31 No. 3 is just devine

The Gulda set won the Deutsche Schallplattenpreis when it was first released on LP. Have had it for years, once came across the entire set in mint condition in a second hand shop in Freiburg, Germany, while on holiday there. One of the best purchases I ever made, only 25 euros. By the way, are you familiar with the sonata cycle Rudolf Buchbinder recorded for Teldec? I haven't heard the entire set but have a total of 3 CDs with recordings from this cycle and they're excellent.

My penny worth is (haven’t heard Levitt) Kempff probably my fall back recording. Brendel Phillips I think there is something a bit off with the CD transfers but the performances are excellent. Backhaus my favourite for many but not all the sonatas possibly a little over romantic. And I really enjoyed Jeno Jando on Naxos, which I bought piecemeal as they came out, decent sound, good steady interpretations.

The Beethoven cycle played by Alfredo Perl is also worth a listen although it is very difficult these days to still get it although it was recorded in the 1990s. Definitely one of my favorites.

Levit is amazing! Thank you for advocating such a recent recording as the top recommendation.

Gulda's set is my favorite. Wonderful interpretations in all respects. However, as you point out, he plays them very fast. They don't feel rushed but they do zip by without letting you appreciate them in some cases. I don't own Levit but I have listened to it a bit and it seems to have the same rush to it. I would like Kovocevich's much more than I do if it was better recorded.

A Beethoven sonata cycle that I think deserves a second listen is that of Yves Nat on EMI. Nat, like Cortot, Casadesus, and most importantly Edouard Risler, were students of Louis Diemer. All of the Diemer students are highly individualistic interpreters. Risler performed the first complete Beethoven cycle of the 20th century in 1905. Nat's interpreetations are highly passionate while being highly intellectual at the same time. His tempo choices are always informed by his detailed care for inner voices and sensitivity to counterpoint. His piano tone is among the most beautiful ever recorded. He is a subtle but highly incisive and characterful interpreter. The later sonatas don't have quite the spiritual aura of a Serkin or Solomon, but they exude a complete understanding of the import and architecture of the pieces, especially op. 109 and 110. It's a mono recording, though.

Gulda for sure my no. 1

This video alone justifies why I must keep listenning you. I completly agree with everything you said. I just miss more talk about Gilels - as Serkin - it is a must among the best and thinking about incomplete cycles Solomon is amazing too (but not for this video, I agree).

my best complete beethoven sonatas is anton kuerti on analekta.....with him....i listen ....the recording is magnificent,you hear everything of the two hands....it dissects each notes,,,,,this is anytimes exicting....!( sorry my english is bad)

While I agree that her set is superb, I can't say that I agree that Annie Fischer's set is a sleeper, as I know many pianophiles who love it. I've loved it myself for many years. Her power, passion and intensity suits the music perfectly. I have heard dozens of sets and to me, hers is the very best. For me, Gulda's Amadeo set on Brilliant Classics is tied with Lucchesini's live set on Stradivarius as my second favorite. Gulda's set is certainly more clean shaven, more modern than Annie's. And his technique is absolutely stunning.

No living pianist gets me closer to the spirit of Beethoven, on recording or in concert, than Richard Goode. But I like your choices, too (I'm making my way through Levit).

I think my favourite is No.27…for its simplicity and nobility. The 32 piano sonatas I think represent the single greatest single body of work in the 19th century western canon.

David, I can't tell you how much I'm enjoying these videos. Thank you for sharing your immense wealth of knowledge - I'm falling in love with collecting and listening again. Don't stop making them! (P.S. I'm having trouble finding a "Cosi" I like....hoping to see some opera rec vids soon??)

In my opinion, the best Beethoven complete piano sonata cycle is by Alfred Brendel on Philips. Even if you're not a big Brendel fan (like Dave), I really recommend listening to them. His "Moonlight" and "Pathetique" surpass those of Kempff and Barenboim by a lot. Anyway, thanks for another great video, Dave! All the best.

Recently purchased rather cheaply, the Claude Frank set on Victoria LPs (remember those?). Making my way through it bit by bit, and I am rather impressed.

Hope the Kempff fans can hear his partial 78 cycle on APR or Dante. The short sides and absence of immediate playback for the artist might suggest a lack of continuity (and that’s occasionally the case) but Kempff also seems more unbuttoned than on either of the later cycles (and the live one from Japan). Thanks as always, Dave.

My favorite cycle is by Vladimir Ashkenazy. I feel there is no other pianist who understands and conveys the magic of this amazing music over the entire 32 sonatas as consistently as he does.

I know this post has been out for a number of months, and I watched it before, but I wanted to again. I liked your comment: "...they believe deeply in the soloists that they love and that means they have to hate all the other ones..." That made me laugh.

Nice video, appreciate the range of styles here and discussion of both older/historic and newer performances. I find myself partial to Casadesus, but he did not come close to a cycle.

As a piano player myself, I can say I don't know any pianist whose performances I liked throughout all of the sonatas that they've recorded. I can always tell there's always at least some of the sonatas they're not particularly fond of and don't give them the same level of preparation as they do for other sonatas. Some of the later performances of Barenboim like the Waldstein I really like. Korstick's 32, Goode's 22 even though I normally don't like Goode at all. His rubato to me tends to sound so awkward as to make him sound drunk.

Schnabel and Gulda, yes (I think the contrast between these two couldn't be much greater) as well as Serkin, but what about Gilels and Backhaus? The latter is a must. No dice with Arrau (is he playing Liszt or Beethoven?) or Kempff with his pretentiously small scale interpretations.

Hi, David, thanks for another great video. Kovacevich is my first choice, followed by Kempff, Brendel and Gilels. Unfortunately, the Russian pianist didn't record the whole cycle.

I just downloaded the Annie Fischer set. Can't go wrong for $12.49. I listened to Op. 10/2 and enjoyed it. I'm looking forward to the rest. One point about the Brautigam set: he uses the Graf copy for the Waldstein forward, but a copy of Walter & Sohn for the earlier sonatas and a copy of a Stein for the WoO material. For the record, I also have Buchbinder, Frank, Pollini and the Serkin box.. The Victrola pressings of the Frank are horrible. Warps, pre-echo, etc. CDs are better, but still don't have great sound.

How about Jean-Bernard Pommier? His performance of the Appassionata is outstanding; he sounds like Beethoven!! The instrument he plays sings as if it were made for that sonata!

Now the pandemic is over you can retake that idea of making a duo with Mr Disler for a piano video

Must admit I really admire Kempff in this music, though the stereo versions are really hissy and need remastering. Really like Arrau's sonority too.

My favorite is the Russian style Maria Grinberg despite the bad sound . The phrasing is pretty satisfying and Russian heavy sound . As for more modern i like the exciting and maybe vulgar set of HJ Lim. And am happy you chose Levit!!!!!

Any opinions on either of the 2 sets by Barenboim? I have lived with the early set for 20 years. Do you all think he is worth an notable mention? I will check out the Levitt newer release, thanks.

Unfortunately Arrau's recordings aren't available anymore. Maybe they'll be reissued at some point.

I wonder if anyone likes Jumppanen's recordings (on ONDINE). Personally I find them extremely exciting, full of energy. Not only does he have brilliant, impeccable technique, there are so many surprising yet wonderful thoughts. Just listen to the 4th movement of the First sonata...

Even though he only recorded a handful of the Beethoven Sonatas, take a listen to Charles Rosen. I think you'll enjoy them.

Konstantin Lifschitz is the latest addition, on Alpha Classics.

Levit is a superb, poised pianist and artist: I've just some difficulties at times finding him interpretatively interesting, he's always musical but rarely illuminating (a big IMHO, obviously). But it's still a great choice as a reference, maybe even more because of this "medietas" (not "mediocritas", mind you). Annie Fischer is surely special, so is Gilels (sadly not truly a complete cycle). Schnabel is musically stellar and sonically sad. You can never ever listen to too many good readings of this infinite trove of sounds and humanity.

Interesting survey, thanks! I love Levi's interpretations, but the cavernous sound bothers me. Another top-notch recent set for me is the one by Jonathan Biss.

I enjoy all the versions you mentioned, excepting Brautigan's (I am a fortepiano hater). I agree with your comments, excepting regarding Levit, in my opinion he lacks substance. If I had to choose only one it would be Annie Fisher. From the plethora of recent versions, disregarded in your survey but, for me, absolutely stunning is Fazil Say. I was surprised you did not mention any of Alfred Brendel three versions. I am a compulsive viewer of all your marvelous videos, fulls of wit and extraordinary knowledge. Thanks you very, very much.

Hi Dave, I studied electrical engineering in the 1980s with Vladimir Ashkenazy’s Beethoven Decca Pianos sonatas glued to my ears for nearly 10 years. I met him once at the Sydney Opera House (1982 maybe?) and had the poor guy sign my Decca vinyl LP complete Sonata collection. He wasn’t happy because my father had phoned him during the intermission to ask him if he would sign the albums! Anyway, he signed them and I still have them, 40 years later. Ashkenazy is therefore my ‘reference’ recording.

Love the Levit! Thx so much!

What are people’s opinions on the new complete cycle by Boris Giltburg !? *I’m not very familiar with the complete Beethoven sonata cycle but Giltburg is one of my favourite pianists and I’m considering buying that box set to start me off!

What about Wilhelm Backhaus? Thank you.

Great selection, I like all of these sets! What's your opinion on Buchbinder's two? I always thought they were quite similar to Brendel's approach, but to my ear more exciting.

Dave, I don't have the money or space for another complete Beethoven piano sonata cycle. However, I would like to get some Claudio Arrau recordings of some sonatas. Which recordings of which Beethoven sonatas represent Arrau at his best?

There is a fine complete set by Malcolm Bilson and his students on various fortepianoc form 1995 on Claves, quite edgy tempo-wise, fresh, full of zest and color.

Wow! The people you left out (Kovacevich, Goode, Brendel, et al) means the ones you chose must be remarkable. But, then, I love Arrau--especially the way he swings in the last sonata. Yep, I said swings boogie woogie style. Great review.

Hi Dave, thank you so much for this wonderful and at the same time quite entertaining assessment of Beethoven's opus magnum. May I ask your opinion about Michael Korstick's much prized set? He's a very underrated guy as far as I can see. I discovered his set of 32 quite lately but I had a deep satisfaction when I began to hear them, especially his Hammerklavier.

To me, the best sounding set of the Schnabel Beethoven sonatas was on Naxos Historical CDs. The Pearl masterings are very noisy, they literally gave me headaches. The EMI sounds like it was recorded underwater.

Great video, I think you certainly met your aim -- the survey covers a lot of cycles and is still 20 minutes long! And by the amount of famous omissions it really does show how many recordings there are of the complete Beethoven sonatas, let alone incomplete cycles and individual recordings. One quibble though, I love Annie FIscher's cycle but I think it can't be unsaid that the piano recording has a dry, brittle tone which can can sound unpleasant at times when compared to her earlier EMI recordings.

What do you think of Stewart Goodyear's set?

The Ronald Brautigam recommendation is the greatest gift ever! Not only does he know how to get a great sonority out of the instrument and understand what Beethoven wrote, but he gets the fortepiano to speak the language of this music with ease. I listened to his performance of Op.31 No.3 (my second favorite Beethoven sonata), and it blew my socks off. I wish I could say I love Beethoven’s music, but I am soured by Beethoven declaration that he learned nothing from Haydn as Haydn is, by a huge margin, my favorite composer of the Viennese classical era. I have always thought Beethoven’s best works were the ones where he didn’t disguise Haydn’s influence, like this one. I sometimes pejoratively refer to Beethoven’s entire musical output as third period Hadyn. I should try to be more kind-hearted and empathetic going forward and stop doing that. I listened to some of the Igor Levin as well - also a great find. Thank you!

Has anyone here heard the Bernard Roberts cycle on Nimbus? I would love some opinions on that one.

Could anyone tell me please if the Arrau which Dave refers to is his 1960s or 1980s cycle? I can't tell just by looking at the box on the video. Are they both equally great?

Great video! Thanks!

I am shocked, SHOCKED, I tell you, that Brother Barenboim's name wasn't even brought up in this "comprehensive overview." Oh well. We all have our favourites.

Anyone like the Bavouzet set? I have two of the three boxes. What a great artist.