This second integral, more thorough and reflective than the first (see also Brendel / enclosure Brilliant) and especially enjoying a much better sound capture, also has the advantage of having a unity of tone higher than the third .
Nevertheless, one can, at times, this second full blame, a slight lack of animation, a tone a little too uniformly reflective and meditative or withheld. In this respect, the third wheel may sometimes (but not always) seem preferable.
This complete Sonatas is complemented by the complete Concertos (including the Choral Fantasy) engraved at the same time with the London Philharmonic conducted by Bernard Haitink. These interpretations, very consistent and a beautiful classicism, not lack charm and deserve to be known. One can nevertheless prefer them (for concertos only) live recordings made in 1983 with the Chicago Symphony Orchestra conducted by James Levine. These, notable for their intensity and risk-taking are available in two forms: either without Choral Fantasy, or with Fantasy Chorale recorded in the 70s with Haitink.
Finally, and due to all these remarks, it is imperative to point out that there is another issue (what's more, cheaper!) Of this second complete Sonatas coupled with the 5 Concertos with Levine recorded in 1983 (at instead of those with Haitink) and supplemented by Fancy Choir recorded with Haitink.
Whoever wishes to acquire this second complete Sonatas therefore has a choice between two solutions: either the remarkable unity of tone proposed by this case (all records from the same time and having been made in the studio), virtually identical set but replaces Concertos in the studio with Haitink live by Concertos with Levine.
Finally, here is how this second complete Sonatas was criticized in the Dictionary of compact discs and written by Diapason magazine and published in Bouquins in 1991: "The second version of Alfred Brendel - quite different from the first - found with extraordinary technical appreciation (piano and sound engineering); the lesson of Wilhelm Kempff and especially Edwin Fischer Vision reflective, analytical, an inhabited and disturbing clarity Brendel articulates superiorly most youth sonatas.. his intellectual internalization and sometimes twice purified often of a burning brightness, superiorly subtle phrasing. His versions of the Sonata "Waldstein", opus 110, Sonata "Storm", opus 27 No. 1 "Quasi una fantasia" or even the "Pathétique" Sonata 18th opus 109 and triumph by the flexibility of nuances, the extreme originality of the harmonic lighting, improvisante and moderating pace. However, the "Appassionata", the "Hammerklavier" and the opus 111, too "coloristic" weigh next to any evidence. "
