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Complete set:13 LPs-Gilels-Beethoven Piano Sonatas DGG digital

the almost complete (27 of the 32) Beethoven Piano Sonata Recordings on DGG by Emil Gilels

thirteen individual long play records on DGG, 2 lps are stereo (two of which are digital in the pressings here) and 12 are digital stereo 

Condition:

Sleeves: ex to ex+

Vinyls: nm- to nm, great shape

DGG

Sonatas 2 and 4                        DGG DIG 415481-1

Sonatas 3 and 15                      DGG DIG 2532 078 

Sonatas 5, 10, 19, and 20                   DGG DIG 419172-1

Sonatas 6 and 23                      DGG 2530 406

Sonata 7 and Eroica Variations DGG DIG 2532 024

Sonatas 8 (Pathetique), 13, 14 DGG DIG 4000036-2

Sonatas 11 and Kurfursten Sonatas DGG DIG 419173-1

Sonatas 12 and 16                              DGG DIG 2532 008

Sonatas 17 and 18                              DGG DIG 2532 061

Sonatas 21, 23, 26                              DGG DIG 419162-2

Sonatas 21 and 28                              DGG DIG 2532 253

Sonatas 30 and 31                              DGG DIG 419174-1

 Sonata 29                                DGG DIG 410527-2

Sonatas 8, 23, 31                      DGG ANALOG       PENGUIN ROSETTE

Andrew Clements wrote on Gilels in The Guardian, Thursday 21 December 2006     “Emil Gilels died suddenly in 1985. Together with Sviatoslav Richter he was one of the unquestionably great Russian pianists of the postwar Soviet era, and part of an outstanding generation of players from around the world, even though, compared with Richter, Gilels's art was not fully represented on disc. He would have been 90 this year, and Deutsche Grammophon has marked the anniversary with three major reissues. The most important of them are his hugely distinguished accounts of the Beethoven piano sonatas, a cycle that remained unfinished at his death with five sonatas, including the first and last, Op 2 No 1 and Op 111, still to be recorded, and there is also a Mozart set that contains a recital Gilels gave in Salzburg in 1970 and the two concertos he recorded with Karl Böhm and the Vienna Philharmonic three years later, the B flat Concerto K595 and the concerto for two pianos K365, in which he is partnered by his daughter Elena.

Most revealing of all though is the collection of early recordings from 1935 to 1955, even if they are not, as the set cover claims, all appearing on CD for the first time. They show the young Gilels as a steely virtuoso, dazzling in period showpieces by Godowsky and Tausig, and driving his way though Schumann's Op 7 Toccata with ferocious power and control, and treating a group of Scarlatti sonatas with the same brilliance and technical precision. Sonatas by Beethoven (Op 2 No 3) and Medtner (Sonata No 3) show that fearsome technique came with an equally acute sense of musical architecture, but when that 1952 account of the Beethoven is compared with the one made as part of his Beethoven cycle more than 20 years later, it shows how the steeliness became tempered with a more spacious humanity. The technique remained as imperious as ever - in the Hammer- klavier for instance, there's no trace of strain - but it had become a means to a much higher, infinitely more thoughtful musical end. If Gilels's Mozart now seems a little stiff and expressively unyielding - Böhm's heavy-legged accompaniments don't help either - then his Beethoven still remains peerless; it's one of the greatest sonata cycles ever recorded, and though incomplete, should be a part of everyone's Beethoven collection.”