Beethoven: Piano Concertos Nos. 4 & 5 / Kempff, Leitner

Editorial Reviews
Amazon.com
Wilhelm Kempff was one of the great German pianists of the postwar period, and his two sets of Beethoven sonatas remain a standard by which all others are measured. He was not a flashy artist, nor was he grimly severe. Rather, he practiced a sort of natural eloquence of expression that made his Beethoven one of the most satisfying over the long haul. Individual moments may rarely leap out and grab you, but his performances leave a satisfying impression of completeness, as if no stone has been left unturned. These performances have been highly regarded since the early 1960s, and with good reason. They offer an admirable picture of Kempff as an artist, and the accompaniments are quite fine. --David Hurwitz

Tracks:

1. Allegro Con Brio
2. Largo
3. Rondo. Allegro
1. Allegro Moderato
2. Andante Con Moto
3. Rondo. Vivace

Amazon.com

What a beautiful recording! Perhaps the most exciting thing about Lang Lang's playing is that when he plays softly and lyrically, he doesn't sound as if he's holding back; when he opts to stomp and yell, it sounds equally natural. The First Concerto is played with lightness and bounce in the outer movements and is as tuneful as imaginable in the stunning second movement's Largo. The Fourth Concerto is a whole other matter - mature Beethoven - and Lang rises easily to the occasion, playing with potency and handsome tone. The first movement makes us sit and admire his skill, and he is poetic and sensitive in the second movement. It would have been easy for him to run away with the final movement in a blaze of virtuosity, but he sticks to its classical outlines. These are superb performances, and the sonics are gloriously rich. --Robert Levine

Album Description

Lang Lang delivers his first-ever Beethoven recording, a stunning reading of the extensive Concerto no. 4 and the jubilant Concerto no. 1. Even though he has performed this repertoire extensively in concert, Lang Lang waited for the perfect moment and the perfect team to record his first pair of concertos from these milestones of piano repertoire When Lang Lang embarked on his international career, Christoph Eschenbach became one of his first and most enthusiastic proponents - and a mentor and close friend ever since, Eschenbach was the ideal collaborator for Lang Lang's first Beethoven recording. Nimbly supported by Eschenbach's superb Orchestre de Paris, with its tradition of having been the first orchestra ever in France to perform music by Beethoven, Lang Lang's performance gives further proof as to why he is one of today's most acclaimed pianists

Customer Reviews:

Counting Stars with Lang Lang........2007-07-18

The sheer fact that some of those signing in here could decide to down rate this disc by such level reveals how nonsensical the so-called classical music market has become.
I don't care how Lang Lang `behaves' at the pianoforte. These are quite irrelevant to his music, as any seasoned listener would tell. Lang Lang and Eschenbach both embark on what could be called a novel to almost revolutionary course in this recording. Instead of resorting to `copy and paste' of some Gilels, some Kempff, some Pletnev and many others, Lang/Eschenbach work on originality. The result yields plenty of fireworks and impassioned music, showering listeners with unexpected joy note after note.
Lang Lang has managed to present `his' version of Beethoven's two challenging concertos for the pianoforte (compare the LP version of the same two pieces by Eschenbach/Karajan decades ago) in his lusciously youthful style, yet leaving much more in his listeners (not for those who adamantly refuse to `listen', though) to long for his future re-releases of these same pieces, where definitely more new things could and would be said then.
As for the collaboration, however revolutionary in interpretation, however unconventional in expression, both Lang and Eschenbach are never in doubt as to where and when to hold on to the reigns, and when and where to let go, even though at times at the least expected places. The teamwork is almost perfect. The cadenza of the first movement of No. 4 is shatteringly novel, while the third movement is one whole piece of explosive firework blowing the listeners away. The No.4 alone justifies the cost for this disc.
I absolutely look forward to the Lang/Eschenbach collaboration of Beethoven's Choral Fantasy, and more others.

False emotion.......2007-07-10

Lang Lang is the worst pianist imaginable. If you want someone who can play the notes, go for it. But there's simply nothing more here. Even worse, he pretends that there is more. Every phrase is unbelievably contrived. It is like someone who apes all the moves of a great actor with none of the substance behind it. Absolutely abominable, atrocious, and offensive playing. Cannot believe that people are taken in by this charlatan.

dexterity unquestioned.......2007-07-07

He can do anything with a piano. All he needes now is to grow into these masterpieces.

Without soul!.......2007-06-10

Does he play Beethoven at all? If you like Beethoven piano concerto, please listen to Backhaus, Schnabel, Fischer or Perahia!

Artistically Improving.......2007-05-23

Lang Lang's technical abilities have overrun his artistic interpretations since the start of his recording career. While that remains a fairly accurate description, this recording shows definite progress. It seems somewhat unfair to denigrate the talents of so dextrous a musician as this young man but there you have it: when you are put on the world stage you are assessed by different standards.

And yet, Lang Lang shows signs of development that are encouraging. His performance of the First Concerto is both lively and exquisitely melodic, except for the occassionally ham-fisted showmanship he is often (and deservedly) derided for. However, the Fourth Concerto seems beyond his artistic grasp. While technically brilliant, it is a soulless and showy performance that displays none of the depth a more mature artist would be capabale of. Beethoven was not a composer known for showmanship but artistry and restraint. These are not qualities Lang Lang is exactly reknown for.

Still, Lang Lang's occassional lyricism can override his more exaggerated tendencies, which makes he and Beethoven quite compatible. This is what makes this CD as effective as it is. Perhaps this young man has received too much acclaim too soon. He needs time to mature as an artist but has so far chosen to present himself to the public at every possible turn. This recording indicates that there is something more to him than has consistently met the ear. Frustrating and encouraging at the same time, Lang Lang's latest CD shows a definite progression in his interpretive skills. It's exciting to think what may be coming in his future.

Finally, the typically exquisite DG sound and fidelity must be acknowledged. Every note and romantic passage is beautifully displayed in a pristine recording of gourgeous beauty. A wothwhile addition to any modern classical collection.

Average customer rating:

The one to own
Serkin plays Beethoven
Beethoven Piano Concertos 2 & 4-Rudolph Serkin w/Boston Symphony
Deserves 10 stars!

Beethoven: Piano Concertos Nos. 2 & 4

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Beethoven: Symphonien Nos. 5 & 7 / Kleiber, Vienna Philharmonic Orchestra

ASIN: B000003CSS
Release Date: 1990-10-25

Tracks:

Allegro Con Brio
Adagio
Rondo: Molto Allegro
Allegro Moderato
Andate Con Moto
Rondo: Vivace

Customer Reviews:

The one to own.......2007-02-05

I've heard so many versions of the 5th by many wonderful pianists, but this is far and away my favorite recorded version. The tempos (or should that be tempi?), the dynamics, Serkin's powerful but graceful technique, the balance between the orchestra and the soloist; everything is exquisite.

Serkin plays Beethoven.......2005-12-25

A wonderful recording.

Serkin's playing is so thoughtful and doesn't draw attention to himself. It's great.

Beethoven Piano Concertos 2 & 4-Rudolph Serkin w/Boston Symphony.......2005-10-24

A beautiful recording of two of Beethoven's great sensitive works of art.

Deserves 10 stars!.......2005-01-02

I had the privilege of seeing/hearing Serkin perform this concerto in person with the Los Angeles Philamonic. Serkin plays this piece as well as all the music he plays with such humility that I swear he lets the composer come through him. This concerto which is my favorite is a beautiful conversation between the piano and the orchestra. Serkin hears the orchestra and responds with the most heartbreaking responses. If you only have one version of the concerto, this is the one.

Average customer rating:

Refreshing Variations from Perahia, Concertgebouw
Perahia's Masterful Beethoven
wonderfully lively
I actually like these performances!
Haitink didn't get the job done this time

Beethoven: Piano Concertos Nos. 3 & 4

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000262P
Release Date: 1990-10-25

Tracks:

Concerto No. 3 For Piano & Orchestra, Op. 37 (C Minor): I - Allegro con brio
Concerto No. 3 For Piano & Orchestra, Op. 37 (C Minor): II - Largo
Concerto No. 3 For Piano & Orchestra, Op. 37 (C Minor): III - Rondo: Allegro
Concerto No. 4 For Piano & Orchestra, Op. 58 (G Major): I. Allegro moderato
Concerto No. 4 For Piano & Orchestra, Op. 58 (G Major): I - Andante con moto
Concerto No. 4 For Piano & Orchestra, Op. 58 (G Major): III - Rondo vivace

Customer Reviews:

Refreshing Variations from Perahia, Concertgebouw .......2005-03-22

It is with good reason that the 2005 Gramophone Guide to Classical CDs lists this among their most praised versions of Beethoven Concertos 3 and 4. Indeed Perahia's entire Beethoven concerto cycle ranks with Kempff as among the best avaialble. (I personally recommend Perahia or Rubinstein for Concertos 1, 2 and 4; Kempff for 1-4; Serkin for 3 and 5; Richter for 5.) The lighter, chamber quality of the Haitink's Concertgebouw offers a nice variation from the standard, more heavy orchestral execution of these pieces. This gives both pieces the more intiment feeling of a recital than a concert hall. Perahia's interpretations are deft and appealing. This is an excellent recording. Perahia perhaps shines most in the Fourth, where power is effectively balanced with appropriate delicacy. While always technically proficient, Perahia's performance does not eschew the emotional investment we've come to expect from his Mozart, Richter's Prokofiev, or Rubinstein's Chopin.

Perahia's Masterful Beethoven.......2001-08-01

One is lost for words when faced with music making of this calibre. Perahia's perfect sense of phrasing, his poetry, his wondrous control of tone production, his powerful sense of drama and his lyricism, never resorting to bombast or histrionics, make this without a doubt one of the great recorded couplings of these two works. And Haitink's broad, contemplative readings, while never lacking thrust or impetus, show us both sides of Beethoven's character; not just the virtuosic showman, but also Beethoven the philosopher and poet. A fine example of this is in the 4th's central movement. Nowhere else has Liszt's description of this elusive music, 'Orpheus taming the Furies' seemed more apt then here; the breathtaking purity and transluscent milkiness of Perahia's perfectly shaped lines gradually embue the grave and tragic utterances of the orchestra to leniancy.

This is a must. Among the greatest Beethoven recordings of the last 20 years.

wonderfully lively.......2000-11-16

What I like about this album is that Perahia here is trying to express something inexplicable, with his right hand touch and shaping, of the overtone sometimes milky but always potently articulated and weighed to different pitches and nuance, one sounds like almost peculiarly Perahian. It is really fine that way, trying rather to do something with right hand, uniquely perahian better than to do away with others things that perhaps his contemporaries share. I know he likes Mieczyslaw Horszowski, and has similarity with Rudolf Serkin (in his early Beethoven recordings in the 1950's) in my view this Beethoven 4th Concerto share the same 'teeth' as it were trying to make sense out of urgent issues such that Beethoven might have wanted to express rather explicitly in the 4th Concerto. Though Perahia here balance things out, not with one continuous blow contiguously fired upon in an even scale and scope of the whole movement expressed as Rudolf Serkin does in his early days, perahian thinking and methodology would prevail here in much the same concept as what stems the ground or essentials, with much different approach that here argued on his usage of his right hand, peculiarly potent, but always effective as conveyance to his other attributes that make up the whole, almost a lot of ground to cover the what is perhaps a weak link to this wonderfully lively sculptor, that what have not been sought, in others words, have sort its way out into one terrific gesture of accommodation and perhaps most effective compromises. His right hand to me is a powerful tool or outlet enabling him to express the inexpressible. His left hand too is very powerful and sustained with control so that it hardly runs out of breath, nor punch, maybe much is alike with Maurizio Pollini's, high calibre left hand presence thereby rendered.

Concerto No. 3 accompanied with 4th is ideal in its layout not missing anything essential nor structure of the work dissipates with breathing sequences in the given work. All details that would sustain the momentum has scrupulously laid out open in one sequence after another, orderly way, many details have judiciously set themselves forth not compromising the integrity of structure (in the third movement toward the end). Perahia here also adopts in the first movement Beethoven's own cadenza in which he shows some of the pyrotechnic. No nonsense direction from Bernard Hatink and balance engineers too have made this record more valuable outside the scope of my review.

I actually like these performances!.......2000-08-14

Apparently Perahia's crystalline Beethoven is not to everyone's taste. If you're looking for rugged Beethoven, you would do better to look elsewhere. What I find impressive about these Perahia interpretations, however, is their classical restraint, taking the form of carefully molded phrasing, which comes across to some as aloofness. This restraint is necessary in preserving Perahia's crystalline purity of tone. NOBODY can match Perahia in the evenness and leggiero touch of his scales in the Third Concerto, for example. The legendary performances of the past are irreplaceable but these are uniquely special too! As for the sound, there is a definite preference for a concert hall perspective here: the mikes are placed at a reasonable distance in a reverberant acoustic, which INCREASES dynamic range by properly conveying pianissimos in contrast to the tutti moments. Perhaps others prefer close-up recording balances but I like how these recordings convey sonic details in realistic perspective.

Haitink didn't get the job done this time.......2000-04-12

I am a big Haitink admirer, but this set is pretty bland, with little dynamic range and color and performances by Perahia that just skate on the surface of the music, even in deep, probing concerti like the 4th. The reviewer below who said Beethoven was his own man by the time of the C minor concerto has got it wrong: this is *the* most Mozartean of all Beethoven's concerti. It's a fact that Beethoven modeled it after Mozart's own C minor, which Beethoven admired boundlessly. (To his friend Kremer: "Listen to that! *We* shall never do anything like that." And he didn't.) The fire necessary even for minor-key Mozart is absent from these pedestrian readings, and Perahia gives everything the same monotonous glass sheen. There are so many competative sets out there one wonders why this has stayed in print for so long. Haitink's wonderful collaboration with Arrau has just come back into print, and even here you have to buy it as part of a 14-disc comprehensive Beethoven set. Worth it, but pricy!

Average customer rating:

Channeling Beethoven
the brain tune-up
The Fourth to Get!
great fourth
These recordings won a Deutscher Schallplattenpreis

Beethoven: Piano Concertos Nos. 4 and 5

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Beethoven: Piano Concertos 4 & 5 "Emperor"
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Beethoven: Piano Concertos Nos. 3, 4 & 5

ASIN: B00004Z19X
Release Date: 2001-04-10

Tracks:

Piano Concerto No.4 In G Major, Op.58: Allegro moderato
Piano Concerto No.4 In G Major, Op.58: Andante con moto
Piano Concerto No.4 In G Major, Op.58: Rondo (Vivace)
Piano Concerto No.5 In E Flat Major, Op.73 'Emperor': Allegro
Piano Concerto No.5 In E Flat Major, Op.73 'Emperor': Adagio un poco mosso
Piano Concerto No.5 In E Flat Major, Op.73 'Emperor': Rondo (Allegro)

Customer Reviews:

Channeling Beethoven.......2006-05-18

No interpreter I've heard brings more artistic integrity and commitment to his performances than does Claudio Arrau. Of course, he is present--I can recognize his playing in the huge, golden strumming sound drawn from a single chord. Yet more than Arrau, I hear Beethoven recreated. In fact, to call Arrau an "interpretter" feels off the mark. "Recreation" is the best word I can call to mind. There are details to cherish--details of voicing, phrasing, articulation and rubato--in every bar of these pieces. And the trills! Arrau's trills are phrases in themselves, melodies composed of no more than two alternating pitches. Haitink and the Concertgebow partner with Arrau beautifully and the Phillips recording quality is excellent, calling no attention to itself. Don't let the bargain price fool you, this is art of the highest order.

the brain tune-up.......2005-01-23

Claudio Arrau (1903-1991) was in his prime when this was recorded in 1964, and despite the age that is evident in the sound, there is a luminosity to his playing that is extraordinary in its ability to stir the emotions and almost leave one breathless. From passages of exquisite tenderness to vigorous power, more than the flawless technique, is the spirit of the piece, which he captures so beautifully. The Concerto # 4 is fabulous, and there may be better recordings for sound quality, but few will surpass the interpretation.

Arrau was born in Chile, and was a child prodigy, and studied with Martin Krause, who had been Liszt's pupil. Arrau spent years giving concerts in Europe, and made his Carnegie Hall debut at age 20, by then already a seasoned performer. I had the good fortune of hearing him in London in '62, and his presence as well as his performance had many in the audience in tears...and some of that presence, an air of greatness, can be felt in this recording.

I have never really cared for the "Emperor", always preferring the more "Mozartian" 1 through 4 concertos, but a pianist I know told me that if you listen to the # 5 once a day, it wakes up the brain cells, and presumably makes one smarter. After a week of listening to this fantastic CD, I may not be much smarter, but have grown to love the "Emperor", so I've already gained a great deal from the "brain tune-up".
This no-frills bargain CD has no liner notes or recording info, and total playing time is 74'42.

The Fourth to Get!.......2003-01-23

You can find no recorded performance of Beethoven's 4th better than this, even surprassing Maria Ginburg's. And this performance, from the 60's, far surpasses Arau's later work in the 80's, when his age was beginning to show. Yes, the recording quality is a bit better on the 80's disc, but would you rather hear a very good recording of an artist in his performing prime or a pristine performance of an artist in his sunset years?

In any case, this Eloquence reissue has been newly remastered using Ambient Sound Imaging and the results are very pleasurable and engaging.

To top it all off, at this price this performance is a steal. 4.5 stars, rounded up to 5.

great fourth.......2002-11-09

Although Claudio Arrau was a very active performer with orchestras around the world, most of his collaborations with orchestras on disc seem flat. Perhaps he felt restrained by the conductors, or found very few that were truly compatible. There are exceptions, however. His recording of the Liszt E flat concerto with Ormandy is an absolute knockout and a pirated recording of Liszt's A major concerto with Cantelli is equally impressive (and very difficult to find). Another live recording, a massive reading of the Brahms second with Igor Markevitch made in 1976, is also exceptional. Of the studio concerto recordings, the Beethoven fourth with Haitink is one of Arrau's great performances - definitely superior to his last recording with Davis. His articulation is incredible (despite his still formidable technique, Arrau playing with Colin Davis was not the same as Arrau in his 60's with Haitink), the shifts in mood subtle, the playing a gorgeous combination of strength and sensitivity. The remastered sound is also superb. The Emperor concerto sounds a little routine by comparison, perhaps because it is coupled with such a stunning fourth; still very highly recommended.

These recordings won a Deutscher Schallplattenpreis.......2002-04-27

These 1964 recordings form part of a full Beethoven concerto cycle which in turn is a pivotal part of Arrau's core recorded legacy. The most essential Arrau is clearly captured in these interpretations, as is also the case in his previous (EMI, late 50's) and subsequent (Philips, mid 80's) Beethoven complete concerto cycles. I spent 20 long years admiring Beethoven through these prize winning performances and I am only too happy to have them at my fingertips now. I have noticed that they are available in alternative packagings.

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Mostly Magnificent Menuhin, with a Few Reservations

The Violinist
Yehudi Menuhin , Johann Sebastian Bach , Bela Bartok , Ludwig van Beethoven , Alban Berg , Johannes Brahms , Max Bruch , Arcangelo Corelli , Edward Elgar , Franz Joseph Haydn , Edouard Lalo , Felix Mendelssohn , Wolfgang Amadeus Mozart , Carl Nielsen , Niccolo Paganini , Camille Saint-Saens , Jean Sibelius , Pyotr Il'yich Tchaikovsky , Michael Tippett , Henri Vieuxtemps , Antonio Vivaldi , William Walton , Alberto Lysy , Anatole Fistoulari , Antal Dorati , Anthony Bernard , Gaston Poulet , John Pitchard , Mogens Woldike , Pierre Boulez , and Rafael Frühbeck de Burgos
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000BWTKJ
Release Date: 2003-11-04

Tracks:

I. Allegro
II. Affettuoso
III. Allegro
I. Allegro
II. Andante
III. Allegro Assai
I. Allegro
II. Adagio
III. Allegro Assai
I. Vivace
II. Largo Ma Non Tanto
III. Allegro

Tracks:

Rhapsody No. 2 (Lassu [Moderato] - Friss [Allegro Moderato])
I. Allegro Non Troppo
II. Andante Tranquillo
III. Allegro Molto
I. Andante
I. Allegretto (Scherzando)
II. Allegro
II. Adagio

Tracks:

Romance No. 1 In G Major
I. Allegro Ma Non Troppo (Cadenza: Kreisler)
II. Larghetto
III. Rondo (Allegro) (Cadenza: Kreisler)
I. Allegro Moderato
II. Adagio
III. Finale (Allegro Energico)

Tracks:

Romance No. 2 In F Major, Op. 50
I. Allegro Non Troppo (Cadenza: Kreisler)
II. Adagio
III. Allegro Giocoso, Ma Non Troppo Vivace - Poco Piu Presto
I. Allegro Molto Appassionato
II. Andante
III. Allegretto Non Troppo - Allegro Molto Vivace

Tracks:

I. Allegro
II. Andante
III. Allegro Molto
I. Andante Tranquillo
II. Presto Capriccioso Alla Napolitana & Trio (Canzonetta)
III. Vivace

Tracks:

I. Allegro Moderato (Cadenza: Menuhin)
II. Adagio Molto
III. Finale (Presto) (Cadenza: Menuhin)
I. Allegro
II. Andante Cantabile
III. Rondo (Andante Grazioso - Allegro Ma Non Troppo)
I. Allegro Maestoso
II. Andante
III. Presto

Tracks:

I. Allegro Non Troppo
II. Scherzando (Allegro Molto)
III. Intermezzo (Allegretto Non Troppo)
IV. Andante
V. Rondo (Allegro)
I. Allegro Non Troppo
II. Andantino Quasi Allegretto
III. Molto Moderato E Maestoso - Allegro Non Troppo
Introduction & Rondo Capriccioso, Op. 28
Havanaise, Op. 83

Tracks:

I. Allegro Maestoso (Cadenza: Emile Sauret)
II. Adagio Espressivo
III. Rondo (Allegro Spiritoso)
I. Andante - Moderato - Cadenza
II. Adagio Religioso
III. Scherzo (Vivace) & Trio
IV. Finale (Allegro)
I. Allegro Non Troppo
II. Cadenza
III. Adagio
IV. Allegro Con Fuoco

Tracks:

Serenade Melancolique
I. Allegro Moderato
II. Adagio Di Molto
III. Allegro Ma Non Tanto
I. Praeludium (Largo)
I. Allegro Cavalleresco
II. Intermezzo (Poco Adagio)
II. Rondo (Allegretto Scherzando)

Tracks:

I. Allegro
II. Largo
III. Allegro
I. Allegro Non Molto
II. Adagio
III. Presto
I. Allegro
II. Adagio
III. Allegro
I. Allegro Non Molto
II. Largo
III. Allegro
I. Vivace - Allegro - Adagio - Vivace - Allegro - Largo Andante
II. Allegro
III. Grave - Andante Largo - Allegro
Fantasia Concertante On A Theme Of Corelli

Customer Reviews:

Mostly Magnificent Menuhin, with a Few Reservations.......2004-01-06

The recent trend toward classical box sets focusing on the performer instead of the composer (see my reviews of the various DG/Decca "Original Masters" sets) continues with EMI's new "Yehudi Menuhin - The Violinist." Sure EMI's past sets have showcased individual performances by Samson Francois, Eugen Jochum and Rudolf Kempe to name a few, but it was always under the heading of a given composer's works, and in the cases mentioned above, to Chopin's piano pieces, Bruckner's Symphonies and Strauss' Orchestral Works respectively. Therefore, this Menuhin collection is the first of EMI's "Budget Box Sets" to showcase a performer playing the works of a variety of composers.

As Menuhin was an EMI recording artist for an incredible 68 years (1931-99), his performances for the label number in the hundreds. With so much music from which to choose, this 10-disc set aims "to highlight some of those alternative versions, including recordings that have not been easily available since the days of LP and others that have never previously appeared on CD." Therefore, the obvious mainstream, easily attainable recordings are omitted here -- for example, the Beethoven/Mendelssohn VCs with Furtwangler, the Elgar VC with the composer conducting, and the Bruch/Mendelssohn VCs with Susskind and Kurtz.

However, a lot of this material has been on disc before on titles which the serious collector most likely already owns. Most of the Bach is currently available as part of the Bach "Budget Box Series" title. The Bruch, Mendelssohn, Brahms and Vivaldi VCs were all available in the now out-of-print 2CD EMI Seraphim series. The Elgar and the Walton are still available in the "British Composers" series. And perhaps most annoyingly, the previously unpublished Beethoven VC and Tchaikovsky "Serenade melancolique" (available as a single disc), and the Beethoven Romance No. 2 (available on an EMI Encore title) were both reissued just a few months back.

But let's focus on the positive, which are the other rare performances, the most significant being the never before reissued 1954 performance of Mozart's Violin Concerto No. 4 with John Pritchard and the Philharmonia. Other elusive recordings include Viuextemps and Paganini VCs with Fistoulari, Lalo and Saint-Saens works with Goossens, and excellent Berg and Bartok accounts with Boulez. Though I'm delighted at their inclusion, of lesser importance is a 1965 Bartok VC No. 2 with Dorati -- his mono EMI with Furtwangler and an earlier account with Dorati on Mercury Living Presence are far superior. Also, neither the Sibelius (Boult, 1955) nor Nielsen (Woldike, 1952) Concertos are truly Menuhin's cups of tea.

My last complaint has to do with the packaging. I know I'm being rather trite but it seems that EMI has taken the "slim" out of slim, paper-sleeved box sets with their latest batch of releases. Both this title and the new box of Liszt Orchestral Works by Masur are noticeably thicker than previous EMI sets featuring a similar number of discs. A minor point, but us serious classical collectors need every centimeter of space on our increasingly crowded CD shelves, not to mention the amount of wasted packaging.

Overall though, despite the fact that "Yehudi Menuhin - The Violinist" is not as essential a reissue as its counterparts in the "Original Masters" series, it is a delightful set that most collectors will thoroughly enjoy.

Beethoven: Piano Concertos Nos. 4 & 5 / Kempff, Leitner

Average customer rating:

The definitive 5th and terrific 4th
William Kempff plays Beethoven's Fourth and Fifth Concertos
A definitive 4th (and probably the 5th, too)
Impeccable Fourth, Pretty Good "Emperor"
Lovely playing in a classic traditional mode

Beethoven: Piano Concertos Nos. 4 & 5 / Kempff, Leitner

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Mozart: Piano Concertos no 8, 23 & 24 / Wilhelm Kempff
Bach: Keyboard Works [Australia]
Beethoven: Sonaten - Pathétique & Mondschein

ASIN: B000001GPZ
Release Date: 1996-02-13

Tracks:

Concerto For Piano And Orchestra No. 4 In G Major: Allegro moderato
Concerto For Piano And Orchestra No. 4 In G Major: Andante con moto
Concerto For Piano And Orchestra No. 4 In G Major: Rondo Vivace
Concerto For Piano And Orchestra No. 5 In E Flat Major 'Emperor': Allegro
Concerto For Piano And Orchestra No. 5 In E Flat Major 'Emperor': Adagio un poco mosso - attacca
Concerto For Piano And Orchestra No. 5 In E Flat Major 'Emperor': Rondo - Allegro

Amazon.com

Wilhelm Kempff was one of the great German pianists of the postwar period, and his two sets of Beethoven sonatas remain a standard by which all others are measured. He was not a flashy artist, nor was he grimly severe. Rather, he practiced a sort of natural eloquence of expression that made his Beethoven one of the most satisfying over the long haul. Individual moments may rarely leap out and grab you, but his performances leave a satisfying impression of completeness, as if no stone has been left unturned. These performances have been highly regarded since the early 1960s, and with good reason. They offer an admirable picture of Kempff as an artist, and the accompaniments are quite fine. --David Hurwitz

Customer Reviews:

The definitive 5th and terrific 4th.......2007-07-16

When the 5th Beethoven Concerto by Kempff was first released on LP, I had it right the way. For decades, this has been my landmark `Emperor', to which all other recordings of the same piece must bench mark against.
Both Kempff and Leitner depict a style of Beethoven that is best illustrative of the composer's temperament and style that IMHV is very difficult to surpass.
This CD now incorporates also another great Beethoven piano concerto - the 4th. Upon more recent listening, I must say that while both Kempff and Leitner demonstrate the same impeccable style and interpretation, soul and feeling that are totally on par with the 5th, upon close listening one would be able to detect that at the time of this recording, Kempff was no longer at his absolute prime in terms of pianism. This is rendered more obvious now that there is a host of younger keyboard supermen playing and recording this piece. The tremendous demand in the last movement of the 4th so powerfully tackled by Bronfmann and played to such crystalline dexterity by Lang Lang had caused slight finger slips discernible upon close listening that definitely would not have happened in the prime years of Kempff.
On the whole, the Emperor (5th) is the definitive thing. The 4th is also great in terms of soul and style; both works being well-nigh unsurpassable.

William Kempff plays Beethoven's Fourth and Fifth Concertos.......2007-07-02

Beethoven's Fourth and Fifth Piano Concertos were among my earliest introductions to classical music many decades ago. These works, and their three companion piano concertos, have lost none of their luster over the years. I love the great German pianist's Wilhelm Kempff's (1895 -- 1991) recording of the complete Beethoven piano sonatas. This 1961 recording of the Fourth and Fifth with Ferdinand Leitner conducting the Berlin Philharmonic is a fine complement to Kempff's sonata recordings.

There are many choices available on CD for this music and almost as many differing interpretations and performing styles. The two concertos both date from Beethoven's middle period, but they differ substantially from each other. The Fourth is lyrical and reflective, while the famous "Emperor" concerto is a prototypical example of heroic, monumental Beethoven in its scope, ambition, and sense of overcoming difficulty and sorrow.

Beethoven's Fourth was, understanably, Kempff's favorite as it suited his temperatment. He sets the stage for the work beautifully with the famous opening bars for piano solo -- the first time the piano had been given the opening statement in just this fashion. Kempff's playing is lyrical, quiet and improvisatory. He makes full use of the light runs, delicate passage work, and filigree in Beethoven's score.

Whatever flamboyance Kempff's performance of the Emperor concerto may lack is more than compensated for by the thoughtful, heroic, and noble character of the performance. The beginning piano arpeggios again set the tone for the work. Kempff plays the dazzling solo themes, warlike trills, clangorous chords and big runs with vigor, strength, and thought, counterbalanced by the many quieter moments of the work.

Beethoven's Fourth Concerto in G major opus 58 was first performed in public in 1808 with Beethoven at the piano. This, for many listeners, is Beethoven's greatest work in the form with its quiet strength, improvisatory piano writing and lyricism. The character of the work is set in the first few bars of the opening, in a movement which is filled with elegance and reflection and with moments of sweep and power. The second movement of the work is a brief dialogue between the gruffness of the orchestra and the pleading, quiet response of the piano that many writers have been tempted to see in programmatic terms. (Beethoven left no program for the work.) The sparkling third movement features a lively theme in which the piano is frequently accompanied by the cello and also by winds.

The "Emperor" was Beethoven's final effort in concerto form, and it was first played by Beethoven's pupil Czerny as a result of Beethoven's worsening deafness. Leon Plantinga, in his study "Beethoven's Concertos" has written (p; 257) that while the work "fairly bristles with musical topoi of a 'military' cast and with modes of expression we easily identify as 'heroic', one can hardly imagine that Beethoven, fed up with all the 'drums, cannons, and human misery' on all sides,[of the Napoleonic wars] could have intended this piece as a celebration of any military hero or anyone's victory in war." The work illustrates not prowess in war but rather "a generalized human struggle, and its heroic gestures pointed to a nobility of character required to prevail."

Some modern listeners have difficulty with the heroic cast of the "Emperor", but the work remains truly inspiring. The opening movement is one of both breadth and length with grand interchanges between the soloist and the orchestra. (Listen to the singing second theme as well, performed by the horns.) The second movement is noble and hymnlike with Czerny writing "when Beethoven wrote this adagio, the religious songs of devout pilgrims were present to his mind, and the performance of this movement must therefore perfectly express the holy calm and devotion which such an image naturally excites." The prayerful second movement leads without pause to a boisterous, difficult, and carefully-constructed concluding rondo.

Beethoven's Fourth and Fifth Concertos have been a gateway to a love of music for many. This recording by Kempff and Leitner is an excellent way to get to know these works. Listeners who already love this music will enrich their understanding through this classic performance.

Robin Friedman

A definitive 4th (and probably the 5th, too).......2007-05-08

This set of two latest piano concerto by maestro Beethoven should be a must for each lover of the composer's works. Wilhelm Kempff himself described the 4th Concerto as the most beautiful of the five, which is interesting, given the fact it's not that well-known as the "Emperor" (No.5). But for newcomers, one listen to the Fourth is enough. Especially the first movement, carrying breathtaking beauty throughout, is heavenly. And the playing remains such all the way. This may well be what Beethoven wanted this concertos to be played like.
There is probably not a few of us whose eyes fill with tears when listening to the slow movement of the "Emperor" -- one of the most wonderful compositions ever written. Here, the Adagio un poco mosso is not played too slowly or maudlingly, but with tender elegance, and the result is sublimely overwhelming. Imagine what experience Wilhelm Kempff must have amassed until the time he recorded this at the age of 65 in 1961. It shows.
It's not the immediate virtuosity that catches your attention while listening to this disc, but it's its pristine beauty -- like tripping over a calm winter pond in the middle of frozen windstorm. Compositionally, No.4 is more lyrical, while No.5 more epical -- there are even moments similar to Pastoral Symphony No.6 to be heard in the "Emperor" concerto. Hats off also to Berliner Philharmoniker.
With this you can't go wrong. It's a gem.

Impeccable Fourth, Pretty Good "Emperor".......2006-10-15

I purchased this disc since I had come to enjoy Kempff's playing of the Beethoven sonatas, and I was mostly pleased.

Kempff's performance of the G-Major Concerto is the best I have ever heard: lyrical and luminous, mysterious in the slow movement, boisterous in the finale, passionate but introverted, as the music itself is. These qualities do hamper him a bit, however, in the "Emperor," a piece which finds Beethoven in his extroverted, public-square-on-display mood. Kempff's playing, while superb, lacks some of the necessary elan to make the performance completely satisfying. For both concertos, Ferdinand Leitner and the BPO provide a wonderful accompaniment, and the winds get to be heard more than von Karajan usually let them.

Recommended.

Lovely playing in a classic traditional mode.......2006-09-10

The lavish praise heaped on this CD by other reviewers needs a little qualification. Kempff isn't the standard by which Beethoven playing is judged, despite what David Hurwitz claims. The actual standard is Schnabel, and in the modern era Kempff is foursquare compared to the brilliance of Richter and Pollini. He has impeccable touch, reverence for the German tradition, and a certain light sparkle. At his best Kempff sounds improvisatory and spontaneous (better words than 'introverted,' as one of the Spotlight reviewers puts it). Kempff was rarely grand or heroic, so he's not always in synch with Beethoven's style.

His virtues best suit the Fourth, often called Beethoven's feminine concerto. Kempff's 1961 account, here remastered in good sound, is bright and engaging. Leitner keeps the Berlin Phil. reined in (you'd never guess this is Karajan's powerhouse orchestra), allowing the piano to dominate. For commanding keyborad technique I'd turn elsewhere, to Fleisher or Serkin. Kempff's reading is closer to Brendel's another traditionalist who reveres classicism infused with reserved imagination. In all, a five-star reading.

What, then, about the heroics of the Emperor Concerto? Kempff states the declamatory solo entry extremely well without sounding grandiose, relying on his great sense of touch and phrasing. There's not a hint of crash and bang. Leitner, however, leads an accompaniment lacking in vibrancy--he's too straightforward, though always respectable. The close-up sonics get a bit distorted in loud passages, but the brightness of Kempff's tone comes through.

I'm impressed that he and Leinter take a fast pace in the first movement, but anyone expecting the command and excitment of Kisson's account with Levine (Sony) will be disappointed. After a suitably songful slow movement, Kempff's technique can't quite attack the difficult finale, but Leitner is robust and powerful, so not everything rests on the soloist's shoulders. I'd rate Kempff's emperor on the same level as Brendel's with Rattle or Levine, well above Katchen or Arrau. Still, it lacks the brilliance of Serkin, Fleisher, and Kissin.

Beethoven: Piano Concertos Nos.4 & 5 "Emperor"

Average customer rating:

Never bettered!
The best Beethoven Fourth and Fifth from Gilels
Brilliant Beethoven, But Collectors Beware

Beethoven: Piano Concertos Nos.4 & 5 "Emperor"

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: Piano Concerto No 5

ASIN: B000AQACN4
Release Date: 2005-09-13

Tracks:

I. Allegro Moderato
II. Andante Con Moto
III. Rondo (Vivace)
I. Allegro
II. Adagio Un Poco Mosso
III. Rondo (Allegro)

Customer Reviews:

Never bettered!.......2007-04-03

I bought the original 10" LP of the 4th concerto while still at school and the performance has remained a favorite ever since!
It seems exactly RIGHT!
I have several other performances - but this is the one I return to again when I want the best.
Gilels is extraordinary in Beethoven and Brahms and this is one of his finest performeances.
If you are interested in great piano playing - buy this CD - especially at such a good price - you won't regret it!

The best Beethoven Fourth and Fifth from Gilels.......2006-06-08

EMI had decided that their Beethoven concertos of choice from Gilels were his second versions, made in the late Sixties with George Szell, so they licensed off these earlier recordings from 1957 to Testament, a reprint label. Lo and behold, now they are considered Great Recordings of the Century, while the Szell set languishes on EMI's super-budget line.

In truth, the rectification is correct. Gilels sounds far more spirited in this Fourth and Fifth Concerto, letting them expand to their real Beethovenian stature. Szell's conducting was enervated (he didn't live many years longer after their release), and Gilels followed suit with tepid playing.

Not here. He is suitably heroic and dazzling in the first moovement of the Emperor and sparkling with life in the finale of the Fourth. The readings still aren't top-notch, htough. Leopold Ludwig is a dutiful rather than inspired conductor. Gilels never had much imaginaiton in Beethoven--although his staid, reflective sonatas on DG, made late in life, arouse enthusiasm in England. Without risisng to the empyrean heights of Schnabel, Serkin, or Edwin Fisher in these works, Gilels is to be reckoned with nevertheless.

Brilliant Beethoven, But Collectors Beware.......2005-09-16

Generally, I've been a big fan of EMI's "Great Recordings of the Century" series (see my reviews), but recently its reissues have included lots of recycled product. Don't get me wrong, I love it when CDs get repackaged at mid-line instead of full-price, but it is getting particularly confusing now that EMI is issuing discs on their own label that they previously licensed out to other companies. This exact material has been available for years via the UK's Testament label (on SBT 1095). These 1957 stereo recordings of the 4th and 5th Beethoven Piano Concertos with soloist Emil Gilels and Leopold Ludwig leading the Philharmonia Orchestra are certainly remarkable. Some ten years later, Gilels remade these works (in fact, the entire Beethoven PC Cycle) with George Szell for EMI, but despite the fact that those were made with one of my very favorite conductors, I have always preferred these earlier accounts. Now the average classical music fan can too, as these performances will obviously attract more attention under the GROTC banner. Of course, we serious collectors have been enjoying this material on CD for years.

Average customer rating:

Definitely a gem to save close to you

Beethoven: Piano Concertos Nos. 3 & 4

Manufacturer: Archipel
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Classical | Imports | Stores | Music
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Beethoven: The Violin Sonatas

ASIN: B000OQF6PY
Release Date: 2007-04-24

Customer Reviews:

Definitely a gem to save close to you.......2007-06-27

First of all, this recording is worth hearing, The combination pianist -directors-orchestras are definitely so spectacular, Clara Haskil was a great artist from all accounts of the 20th century, I have to take into consideration that despite of the time of this live recording , the sound has with certainty been well balanced and quite good enough so keep an eye on it and don't miss the opportunity to get it because is one of a kind.

Average customer rating:

Historical performances!

Beethoven: Piano Concertos Nos. 3 and 4
Ludwig van Beethoven , Arthur Rubinstein , Dimitri Mitropoulos , and Philharmonic-Symphony
Manufacturer: Music & Arts Programs
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Arthur Rubinstein: Ludwig Van Beethoven Piano Sonatas

ASIN: B00006L6XR
Release Date: 2006-01-01

Tracks:

Allegro Con Brio, Candenza, Tempo I - Arthur Rubinstein
Largo - Arthur Rubinstein
Rondo (Allegro), Cadenza, Tempo I-Presto - Arthur Rubinstein
Announcement - Josef Hofmann
Allegro Moderato, Cadenza, Tempo I - Josef Hofmann
Andante Con Moto - Josef Hofmann
Rondo (Vivace), Cadenza, Tempo I-Presto - Josef Hofmann
Announcement - Josef Hofmann

Product Description

Rubinstein: Beethoven Piano Concerto Nr. 3--Philharmonic-Society, Ormandy/1943 Hofmann: Beethoven Piano Concerto Nr. 4,Mitropolus--Philharmonic Society/1943

Customer Reviews:

Historical performances!.......2006-11-12

This is a memorable CD. It contains the legendary presence of Joseph Hoffman in front of the New York Philharmonic, under the baton Of Dimitri Mitropoulos and playing Beethoven's Fourth Concerto . You will have the chance to enjoy and admire of the expressive pianism of the most remarkable keyboard giants of the past.

But there is much to listen, Artur Rubinstein playing the Third Piano Concerto in what to my mind concerns was his best decade; the forties.

Average customer rating:

I'm not quite so convinced.
Stunning recording and a fresh approach
Modern...And I Like It!
recordings at the styriarte festival in Graz
A Stunning Collaboration

Beethoven: Piano Concertos Nos. 1-5
Ludwig van Beethoven , Pierre-Laurent Aimard , Nikolaus Harnoncourt , and Chamber Orchestra of Europe
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

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ASIN: B000088DSQ
Release Date: 2003-05-20

Tracks:

Allegro Con Brio
Adagio
Rondo: Allegro Molto
Allegro Con Brio
Largo
Rondo: Allegro

Tracks:

Allegro Con Brio
Largo
Rondo: Allegro

Tracks:

Allegro Moderato
Andante Con Moto
Rondo: Vivace
Allegro
Adagio Un Poco Moto
Rondo: Allegro, Ma Non Troppo

Amazon.com

Aimard is best-known as an exponent of contemporary music, Harnoncourt, as a Founding Father of the period instrument movement. Both bring elements of their contrasting backgrounds to this provocative set: Aimard, in the lucidity and transparency of his playing, Harnoncourt, by rooting Beethoven within earlier traditions. But such templates don't always apply here, since they also utilize such ultra-Romantic gestures as wide tempo fluctuations, often from one measure to the next, elongated pauses, unexpected accents, among others. Such a diversity of interpretive stances takes getting used to, but the effort's worthwhile as these discs make something fresh and new out of familiar repertory pieces.

The first two concertos fare best, and the "Emperor" is also striking with its blend of clear textures and heroic gestures that likely surprised the composer's contemporaries with their boldness. In No. 3, lyricism sometimes shades into lingering, and the famous dialogue between growling orchestra and poetic piano in No. 4 is tame alongside most versions. Overall, the pair generally favor spacious tempos--the opening Allegro con brios of the first three concertos don't have much brio, and slow movements are slower than the norm, although those fluctuating internal speeds keep total timings within the "normal" range. But then, the goal of these artists is to restore a spirit of adventure and spontaneity to Beethoven, and they've certainly succeeded. --Dan Davis

Customer Reviews:

I'm not quite so convinced........2006-10-28

I was surprised by the universal acclaim on this recording. Whilst there are some moments of real joy and surprise, as a whole the set feels somewhat uneven. The first three concertos are the best of the set, four is OK but five is disappointing. At times liberties are taken with tempi and you find things grinding to a halt abruptly and the performance loses forward momentum as a result, at other times things feel a little too mechanical.

This is particularly apparent in the slow movement of number 5, one of my favourite piece of Beethoven. It is really difficult to tell whether it is intended or a by-product of recording but at times the piano is just too much to the fore and sounds like a mechanical music box. It is somewhat surprising by Aimard seems to be able to combine over use of rubato (the opening phrases in the piano just slow down too much) with overly spiky approaches to passages where the piano accompanies the orchestra.

I have to say though that the orchestra is wonderful throughout under Harnoncourt.

Word of advice - don't listen to this with headphones - you can hear the edits to remove audience noise and also hear someone (wither the conductor or soloist) audibly grunting with the effort in places - quite unnerving.

Stunning recording and a fresh approach.......2006-01-10

Aimard, Harnoncourt, and the COE present a compelling interpretation of these oft-heard piano concertos. I agree completely with the favorable comments made by the spotlight reviewers and would like to add that this set is the best-recorded of the several sets that I own. While the interpretations are very unique, they are also musically quite convincing. I learned this music with the Ashkenazy/Cleveland Orchestra collaboration and have been listening a lot to the Fleisher/Szell set, which is perhaps my all-time favorite, but I would certainly highly recommend this new set to anyone with a fondness for these piano concertos.

Modern...And I Like It!.......2005-03-06

I never would have thought...

Thank you Monsieur Aimard for affirming the tradition of equilibriated emotion and intellection in pianism. Thank you Les Monsieurs Aimard and Harnoncourt for your hard and successful work in making these pieces sound new again.

The Master Beethoven's Piano Concerti have just come out of the shower...They are clean, fresh, and alive again!

recordings at the styriarte festival in Graz.......2003-11-03

I'm glad that other listeners enjoy this recording of Beethoven's piano concertos as much as I do. I just wanted to correct some false information about the recording details: In the booklet of the CD you can read that the 2nd concerto was recorded in Vienna which isn't true. This concerto was recorded in Graz at the styriarte festival 2001 (June-July), whereas the first concerto was recorded in Vienna. In order to complete the series in Graz Nikolaus Harnoncourt and Pierre-Laurent Aimard decided to do the first concerto in 2003, but it was not recorded by Teldec/Warner at the festival 2003. Instead Warner took the older recording from Vienna. What Warner did record in Graz at the festival 2003 was Beethoven's Choral fantasy op. 80 and the Rondo, WoO 6.
Apart from pointing out these technical details of the recording I warmly recommend a live performance of Nikolaus Harnoncourt, Pierre-Laurent Aimard and the Chamber Orchestra of Europe because the CD can not grasp the overwhelming atmosphere which these great artists produce in Nikolaus Harnoncourt's hometown.

A Stunning Collaboration.......2003-08-16

I often like to hear what pianists who specialize in contemporary music have to say about pieces from the established repertoire; they tend to re-think even the old works. This, plus a recommendation from a friend, led me to buy this set featuring Pierre-Laurent Aimard. I had heard him play part of Messaien's 'Vingt Regards' this past season and was knocked out. Then I got his recording of the Ligeti Études and was convinced by them that he is one of the most talented pianists today, at least in modern repertoire. I had heard rumors that Nikolaus Harnoncourt, having recorded a very successful Beethoven symphony set with the Chamber Orchestra of Europe, was planning to record the Beethoven Piano Concerti with them as well and I'd heard it was going to be with Martha Argerich. I later read, though, that she refused to participate at least partly because she didn't know all five of the concerti and didn't want to learn the ones she didn't already know. When I heard that the project was going ahead, but with Aimard, I was puzzled but very interested. In the set's booklet, Aimard indicates that although he had never performed with Harnoncourt, the conductor had heard him play a Beethoven sonata in recital and judged that he might make a wonderful collaborator. Aimard was, understandably, a bit surprised at being chosen, but quickly agreed to the project. These recordings, then, were taken, except for the recording of the Second Concerto, from live performances in Harnoncourt's hometown, Graz, Austria; the Second was recorded live in the Vienna Philharmonic's home hall, the Musikverein. The 3-CD set presents the concerti in the order in which they were written: 2, 1, 3, 4, 5.

There are a number of general comments to make about this collaboration. First, it is clear that both Harnoncourt and Aimard have re-thought the pieces from start to finish. There are not simply gazing admiringly at well-known monuments. They are getting up-close-and-personal and making observations, individually and together, that are fresh and new. Further, their cooperation is stunning; Harnoncourt, whose long-standing relationship with the COE is such that he can get anything he wants from them with a flick of the wrist, conducts the pieces as if the music were occurring to him in the now. This means that there are many tempo alterations, pauses, accents, mouldings of phrases that sound spontaneous. And Aimard matches him gesture for gesture. Occasionally this is irritating, but usually it is simply surprising and enlightening. One thing is for sure: you never know what is just around the next corner. And this, of course, makes the music fresh and exciting. Following along with score I noted no flagrant disregard of Beethoven's notated indications, and indeed I saw that Aimard followed quite closely such things as Beethoven's sometimes quirky but always effective pedal markings and accents.

The COE, as a result of Harnoncourt's background in early music, uses minimal vibrato, the winds and brass sound like original instruments (although I don't know whether they actually are), the timpani are crisp (from leather-headed sticks?) as they were in the Harnoncourt/COE symphony set. The sound picture is exceptionally clear and the dynamic range exceptionally wide. The sound of the piano is not nearly as highlighted as it is in most concerto recordings; rather it sounds like it does in a concert hall. This seems particularly so in the latter two concerti. This strikes me as apt, since the Fourth is a rather like a symphonic fantasia with piano obbligato and the Fifth--in distinction to its usual presentation as a grand Romantic concerto with heroic piano solo--is a symphony with piano. For this reason, the Fourth and Fifth are particularly successful.

The slow movements are generally slower than usually heard, and they all feature heavenly string playing from the COE. The muted strings in the slow movement of the Fifth are matched by Aimard's slightly covered sound and the effect is heavenly. One doesn't want it to end, but when the final chord in B major resolves downward to the B flat opening of the final movement it is like waking from a dream to find oneself in a fresh and wonderful new world--one of Beethoven's master-strokes served up perfectly by Harnoncourt and his musicians. The colloquy--one might say 'debate'--between the piano and the orchestra in the middle movement of the Fourth is more genial than in some performances, but this is in the interest of a rather gentler overall approach in that concerto, one that I find attractive.

The Second concerto, usually played as a Haydnesque late-Classic concerto, is more full-blooded than one generally hears; this may be partly due to the rich, warm ambience of the recording venue, the Vienna Musikverein. Whatever the reason, I like this approach; I've often thought other performances have drained this concerto of its fire, focusing rather on its music-box features.

The First concerto in C major is, for whatever reason, my least favorite of the five, but it is given a loving, nuanced, sparkling performance here. The outer movements of the Third, in C minor, are the weakest of the set--although the performances are not at all bad; the sound is a little muddy as well. Its middle movement, though, one of Beethoven's loveliest movements, is perfect. Its stillness foreshadows the slow movements of Beethoven's late sonatas and quartets. Harnoncourt and Aimard are in complete accord on its extremely slow tempo and time seems to stand still.

In summary, then, this is one of the most successful Beethoven Concerto sets I've ever encountered. I would not want to be without Arrau/C. Davis (my favorite over the years), or various recordings by Gilels, Richter, Brendel, Ashkenazy, Kovacevich, Schnabel (that glorious Fifth with the Chicago Symphony!) and others. For new insights, though, and a slightly out-of-the-mainstream approach, as well as a deep satisfaction, I'll reach for this set often, I suspect.

Heartily recommended.

CD1=70;24 (2nd=31:10, 1st=39:14)
CD2=37:50 (3rd)
CD3=75:09 (4th=35:27, 5th=39:42)
TT=183:19

Scott Morrison

Music Review: