Whatever sharing some of the reviews sound a bit anachronistic Poliss and the Chilean, the complete sonatas for piano Claudio Arrau performed in full prime of life won me over from start to finish.
Youth sonatas are not too serious but very alive contrary, bouncy and spontaneous. Arrau uses his very soft touch and end not to burden the speech but to create an intimacy, familiarity and accessibility very well come, but never at the expense of vitality. Of course the 7th and 8th sonata "pathetic" are severe but the young Beethoven had such gravity as late Beethoven also had his dancing facet, playful and light.
Moreover it is one of the strengths of this recording not show a linear progression of the Viennese classic beethoven beethoven to the tragic and tortured the end but rather to show how these multifaceted personality of Beethoven cohabited throughout his life and his work while undergoing changes. The 25th sonata sonatas mixed with more than earlier Beethoven offers a striking illustration.
Median sonatas which include sonatas "Moonlight", "storm" and "Waldstein" are perhaps the most successful of this cycle known as Arrau via its variations touch which he has the secret to make sense of all these repetitions and sudden changes in rhythm without gratuitous violence but with much energy.
Another strength of this version is the apparent simplicity of the game which is paradoxically enhanced by the variety and subtlety of touch Arrau who knows "prioritize" the notes (which could be a default) and the emergence of a clear structure. This way to bring out simple structures is reminiscent Schnabel even if it was a much different feel.
As for the last sonatas, I find admirable. The legendary Chilean cantabile does wonders, but again, I think more than the tragic and deep side (part of clichés about the game of Arrau and highlighted by many comments), this approach does everything simply highlight the beauty and universality of this music.
This integral 60s is a major achievement for me. It is even the integral I recommend priority you want to discover the Beethoven sonatas as a whole.
My other favorite is that of Friedrich Gulda integral (from the 60 too, but it was his 3rd already!) It is more electrifying with a piano sound more honest, better accuracy of tempos and rhythms, taking a unheard risk and a desire to make them even more obvious contrasts Beethovenian without falling into the brutality or in caricature.
