Beethoven Piano Sonata No. 23 „Appassionata“:

Allegro assai – Andante con moto – Allegro ma non troppo – Presto

Ziel meiner Auswahl sind möglichst unterschiedliche Aufführungen dieser Sonate – daher diesmal keine Allerbesten der Besten…

17’27 (Harold Bauer) – 31’32 (Glenn Gould)

Beethoven Appassionata Piano Sonata No 23 in F minor Op 57 – Anastasia Huppmann

Beethoven: Piano Sonata No. 23 in F minor, Op. 57 „Appassionata“ by Sviatoslav Richter – Recorded in 1960 (virtuos, rabiat, schnell)

Beethoven son. n° 23 op. 57 Appassionata Vladimir Sofronitsky ( live rec. 12.10.1957) – phantastischer 2. Satz

Valentina Lisitsa, BEETHOVEN, „Appassionata“, Piano sonata No. 23, F-minor, op 57 – live on Bösendorfer – Aarhus, Denmark, 28. feb. 2017

Harold Bauer – Beethoven Sonata No. 23 in F minor Op. 57 „Appassionata“ – rec. 1927

Walter Gieseking plays Beethoven Piano Sonata No.23 „Appassionata“ (1947)

Beethoven – Piano Sonata nº 23 – Op. 57 – Appassionata (Backhaus)

Alexei Sultanov – Ludwig van Beethoven Sonata №23 „Apassionata“, Op. 57. From recital in Kioi Hall, Tokyo. April 2, 1996.

Gilels plays Beethoven Appassionata 1954 (live Prague Spring Festival) – leichter Vorhall

Arthur Rubinstein – Beethoven Sonata No. 23, Op. 57 „Appassionata“

Ludwig van Beethoven – Piano Sonata No.23 in F minor Op.57, „Appassionata“ – Ivan Moravec

Beethoven – Piano sonata n°23 op.57 „Appassionata“ – Annie Fischer (Bösendorfer) Tsunami !!!

KEMPFF plays BEETHOVEN Sonata No 23 Op.57 Appassionata COMPLETE (STEREO STUDIO RECORDING MAY 1960 (NOT FROM THE 1964/1965 COMPLETE SET))

Beethoven – Piano sonata n°23 – Walter Gieseking – Studio recording, New York, II.1939 (mit Whg)

Gould/Beethoven Sonata No.23 in F minor, op.57 ‚Appassionata‘

One of the big recording scandals. His Appassionata (1st movement) is almost half the „normal“ tempo. Reception of Gould’s recording was mostly poor, ranging from critics calling his version „infantilisation of great music“, „a recording Gould will hopefully be ashamed of“ and the like. Gould disliked the piece in particular. If not for his record company, Gould might not have recorded the piece at all. At the time, Gould was busy recording music rather unpopular with audiences (i.e Schoenberg). The recording of the popular Beethoven sonatas might have been some sort of concession.

Glenn Gould’s Appassionata: A Scandal?

Und zum Schluss – heute nicht – das Allerbeste (in meinen Ohren)