Beethoven: Piano Sonatas & Variations
Andor Foldes
Label
Deutsche Grammophon
Catalogue No.
4827053
Barcode
00028948270538
Format
2-CD
About
TRACK LISTING / ARTISTS

LUDWIG VAN BEETHOVEN
CD 1
Piano Sonata No. 4 in E flat major, Op. 7
Piano Sonata No. 6 in F major, Op. 10 No. 2
Piano Sonata No. 9 in E major, Op. 14 No. 1
Piano Sonata No. 19 in G minor, Op. 49 No. 1
Piano Sonata No. 31 in A flat major, Op. 110

CD 2
Piano Sonata No. 24 in F sharp major, Op. 78 ‘À Thérèse’
Bagatelle in A minor, WoO 59 ‘Für Elise’
Six Bagatelles, Op. 126
Ecossaise in E flat major, WoO 86
Andante favori in F major, WoO 57
32 Variations in C minor on an original theme, WoO 80
Two Rondos, Op. 51
Piano Sonata No. 25 in G major, Op. 79

Andor Foldes, piano

ALL FIRST RELEASES ON CD, EXCEPT PIANO SONATA, OP. 7

Recording information

Recording Producers: Hans Weber (Sonatas Op. 7, Op. 14 No. 1, Op. 110); Hans Ritter (Sonatas Op. 78, Op. 49 No. 1); Karl-Heinz Schneider (Für Elise, Andante favori, Ecossaise, Bagatelles Op. 126, Sonatas Op. 10 No. 2, Op. 79); Klaus Fischer-Dieskau (Rondos Op. 51)
Balance Engineers: Walter-Alfred Wettler (Sonatas Op. 7, Op. 14 No. 1); Heinz Wildhagen (Sonatas Op. 10 No. 2, Op. 49 No. 1, Op. 78, Op. 79, Variations WoO 80, Rondos Op. 51); Harald Baudis (Sonata Op. 110); Werner Wolf (Für Elise, Andante favori, Ecossaise, Bagatelles Op. 126)
Recording Locations: Jesus-Christus-Kirche, Berlin, Germany, 5–6 February 1960 (Sonatas Op. 78, Op. 49 No. 1); Grosser Saal, Musikhalle, Hamburg, Germany, 15 May 1957 (Für Elise, Andante favori), 18 & 19 May 1957 (Ecossaise), 15 & 18 May 1957 (Bagatelles Op. 126); Beethoven-Saal, Hanover, Germany, 8–10 & 12 August 1960 (Sonata Op. 7), 6 & 7 November 1957 and 24 & 25 March 1958 (Sonata Op. 10 No. 2), 10–11 August 1960 (Sonata Op. 14 No. 1), 30 June and 4 & 6 July 1957 (Variations WoO 80), 11 January 1959 (Rondos Op. 51), 15 December 1958 (Sonata Op. 79); Kulturraum, Bamberg, Germany, 20 & 21 April 1960 (Sonata Op. 110)
Remastering Engineer: Michael Beier

Reviews

‘The Ecossaises suddenly break free from the chilly discipline, and blossom delightfully … The recording is at once deep and clear.’ Gramophone, March 1958

‘Foldes has quite wonderful technique. It is impossible to think of his ever playing strings of wrong notes; one could more easily believe his last wrong note occurred in 1949, so assured does he sound. His playing is beautifully clean.’ Gramophone, November 1959 (Rondos)