The Final Instalment - plus Schnabel's 1938 Eroica Variations
"The sound quality ... made me rethink my conception of Schnabel" Classical CD Review
"They embody what may well prove to be the sonically finest transfer
that these recordings from the 1930s have received" Fanfare
FLAC Downloads includes PDF scores of all three works
REVIEWS OF PREVIOUS ISSUES
"The player's fine mind shows best in the last half of [Opus] 110. He beautifies the sometimes rather awkward piano writing. This is a rich combination of expository skill and imaginative interpretation. The only player who I think makes the fugue (it is a rondo-fugue, worth pondering) even more deeply serene is Hess. There is just a shade of rhythmic unevenness in Schnabel; but the movement's inward grandeur shines out." 
"...nor do I know of musically more satisfying accounts of the Sonatas Opp. 110 and 111 —which is not to forget fine, and better-recorded accounts, by Kempff, Myra Hess or Arrau ... This cycle, I need hardly reiterate, is one of the glories of the gramophone. Indeed, I can think of few undertakings of comparable scope which offer such self-evident proof of the importance of the medium. If you missed the original reissue in 1964, don't hesitate now. The cycle has its oddities and eccentricities, but for once it is no exaggeration to say that to neglect Schnabel is to neglect Beethoven." 
"[The only dull piece in the volume is the Minuet in E flat,] but after it is over ample amends are made by the splendid Variations in the same key subtitled here "Eroica," because the theme, on an air from the ballet Prometheus, is used for the finale of the third symphony... At last Schnabel gets really good recording. In this album I find the fullness of tone that has always been lacking before and not a harsh or thin sound. As in the fourteenth album the pianist is at the top of his form and shows us convincingly what piano literature owes to Beethoven. There are one or two places in the alla fuga finale of the variations where semiquavers are rushed but there is no room for criticism elsewhere." 
"...taken as a whole this is a marvellously successful performance, with vivid detail wedded to a conception of invincible grandeur. The pillars of the design are made clearer and firmer than I've ever heard them before: that's to say, the introductory arch (before the theme is reached) ; the span of variations 1-14; the widening vista of the fifteenth variation (the largo) and the bridge to the final fugue and coda." 
WRA, RO, AR, SP. From reviews of original issues and reissues, The Gramophone
Notes on the recordings:
The final two sonatas in Schnabel's Beethoven cycle were both recorded at his first Abbey Road session in January 1932. As Schnabel later wrote, he was not overly pleased with the initial results of his efforts in a recording studio: "I felt as though I were being harried to death. Everything was artificial - the light, the air and the sound, and it took a very long time before I could make the gramophone people adjust some of their equipment to music, even longer to adjust myself to the improved equipment."
Getting the best out of the two sonata recordings has not been easy - despite running to just 45 minutes, my working files for the sonatas alone generated some 11¾ hours of music and an entire abandoned near-finished set. They were more coarsely and noisily recorded than later sonatas in the series and in order to get the best from them I've had to leave a higher level of background noise than in most of the others - my attempts to reduce noise further resulted in intolerable losses of musicality and unevenness of sound.
The tonal quality of the piano in the 1938-recorded Eroica Variations is generally much improved over the earlier recordings, and generally sides were much quieter. However, the presence of swish through many of the sides created a great deal of restoration work and has left some higher residual noise in places than I would have liked. Overall, however, I believe the sound quality here is far more closely representative of the finer nuances of Schnabel's piano tone than is possible to attain from the 1932 sonatas.
CD covers to print:
CD-writing cuesheet (save as .cue):
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