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Technically, at Op. 101, he directed that all of his sonatas be Grand Sonata fur das Hammerklavier. Posterity has forgotten this, and 106 kept the nickname.

Yep, although 106 certainly lives up to the billing.

I'm sorry I caused all this confusion about which recording would Beethoven and Horowitz, sounded like. But, thank you for your opinions. Now, I am tempted to introduce a new topic for discussion here. It is, of course, related to the present topic. So, here goes. Now that we've discussed the Hammerklavier, let us look at the other great sonatas in Beethoven's late period (by late period, I refer to sonatas 21-32, op. 53-111), such as the Waldstein, Les Adieux, and Appassionata. May I ask which is your favorite recording? I am omitting the question about Horowitz (he recorded these sonatas), and Beethoven (as we found that question, problematic). And, feel free to continue discussion on the original post. Also, if you wish, please add your own questions about favorite recordings of the Beethoven Sonatas.

Let's get something clear the Waldstein and Appassionata Sonatas are not late period Beethoven. They are mature middle period pieces. Les Adieux is generally considered a transitional piece between the middle and late period and Op. 101 is definitely in the late period (per Wikipedia so it must be true). If you'd like discussion of the Waldstein and Apassionata that's fine, but don't call them late period. You also may want to do a search because they've been discussed.

Yep, although 106 certainly lives up to the billing. [/b]</font><hr /></blockquote><font size="2" face="Verdana, Helvetica, sans-serif">The funniest thing about it all was that he decided, erroneously, that the piano was a German invention and therefore needed a German name.

If I recall correctly, when Dino Ciani performed all Beethoven piano sonatas live (in Milan over a two week period in the early 1970s), the Hammerklavier came at the end of one of the concerts... as the applause died away, he (re)launched into the (entire) last movement as an encore

Michael B.

Heh. Jochum did the same thing (i.e., repeat the finale as an encore) after a performance of Bruckner's Fifth!

Gould.

The new pairing of both the Hammerklavier and Moonlight by Perahia are my current favorite interpretations of both those sonatas.

https://open.spotify.com/album/1B7331zmwupxVu4YdFF8pV

Friends:
Not to be a contrarian, but no one has mentioned Backhaus. My God, he was stupendous.
Karl Watson

There may be some newer recordings or re-issues to consider since this thread was started over nine years ago.

Regards,

Solomon

My favorite is Vestard Shimkus. He displays jaw-dropping virtuosity and a lot of individuality, so in those regards, I suppose he might come close to Horowitz. Although the Adagio was glacial, Yuri Favorin's at the 2017 Van Cliburn had its Horowitz moments. But as others have said, it's pointless to speculate who plays it like he might have. I have a live performance of Op.101 by Horowitz, and as much as I love his playing, I have to say late Beethoven is not his thing! It's not the least bit spiritual, and it's full of wrong notes. Maybe just a bad night.

I did not know Shimkus recorded hammerklavier, He has some great interpretations I'll have to give that a listen.

Michael B.: What is the second rule?

Now that we have discussed Hammerklavier, whose interpretation do you like the most of op. 109-111? For me it's Gilels for op. 110, Arrau for 111 and for 109 I don't know.