Beethoven: Piano Concerto No. 4; Piano Sonatas, opp. 109 & 110

Editorial Reviews
Amazon.com
If Hélène Grimaud hasn't yet appeared on your radar screen of today's outstanding artists, do yourself a favor and get to know the amazing work of this young French pianist. As with her previous releases on Teldec, Grimaud hasn't set out to occupy a specialized niche of repertory. Instead, in knockout recordings of Brahms and Rachmaninoff, Grimaud's been staking out the prime territory. Any initial reservations about such works being over-recorded are quickly dispelled by the unique poetry and power her imagination brings to them, above all in this marvelous live performance of what is probably Beethoven's greatest piano concerto. Entire readings of the Fourth collapse due to misjudgment of its brief but microcosmic opening five bars of solo piano; listen to Grimaud's eloquent articulation of the all-important rhythm, given without intrusively subjective fuss. Her balance of lyricism against energetic momentum sets the stage perfectly for what is to follow. Masur--in almost telepathic sympathy with the soloist--brings a grandly expansive sensibility to the first movement that allows for deliciously precise details from the New York Philharmonic, without losing sight of the music's dramatic thrust. The disc also includes two of the late sonatas; Grimaud understands their complex emotional fabric and brings both clarity and intensity to her articulation. Especially beautiful is the variation movement of Opus 109, sensitively shaped and unencumbered with a dubious "mysticism." No matter how well you know this music, Grimaud is the kind of artist who can make you rethink and--most importantly--feel again what is taken for granted. --Thomas May

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 Sonata In E Major, Op. 109: Vivace, Ma Non Troppo
Piano Sonata In E Major, Op.109: Prestissimo
Piano Sonata In E Major, Op. 109: Andante Molto Cantabile Ed Espressivo: Gesangvoll, Mit Innigster Empfindung
Piano Sonata In A Flat Major, Op. 110: Moderato Cantabile Molto Espressivo
Piano Sonata In A Flat Major, Op.110: Allegro molto
Piano Sanata In A Flat Major, Op.110: Adagio Ma Non Troppo. Fuga : Allegro Ma Non Troppo

Amazon.com

If Hélène Grimaud hasn't yet appeared on your radar screen of today's outstanding artists, do yourself a favor and get to know the amazing work of this young French pianist. As with her previous releases on Teldec, Grimaud hasn't set out to occupy a specialized niche of repertory. Instead, in knockout recordings of Brahms and Rachmaninoff, Grimaud's been staking out the prime territory. Any initial reservations about such works being over-recorded are quickly dispelled by the unique poetry and power her imagination brings to them, above all in this marvelous live performance of what is probably Beethoven's greatest piano concerto. Entire readings of the Fourth collapse due to misjudgment of its brief but microcosmic opening five bars of solo piano; listen to Grimaud's eloquent articulation of the all-important rhythm, given without intrusively subjective fuss. Her balance of lyricism against energetic momentum sets the stage perfectly for what is to follow. Masur--in almost telepathic sympathy with the soloist--brings a grandly expansive sensibility to the first movement that allows for deliciously precise details from the New York Philharmonic, without losing sight of the music's dramatic thrust. The disc also includes two of the late sonatas; Grimaud understands their complex emotional fabric and brings both clarity and intensity to her articulation. Especially beautiful is the variation movement of Opus 109, sensitively shaped and unencumbered with a dubious "mysticism." No matter how well you know this music, Grimaud is the kind of artist who can make you rethink and--most importantly--feel again what is taken for granted. --Thomas May

Customer Reviews:

Please read this honest review.......2004-03-13

I admit, I am a fan of Grimaud's, even though her playing hasn't actually moved me personally since her Brahms solo recording. I heard her play the Rach 2nd live, and that's what impressed me about her. Her performance really touched me, and I could not help but be a fan. yes, she happens to be attractive, but I really don't see that reflected on the cover for this CD. She looks so tomboyish with the short hair.
Anyway, Her rachmaninoff and brahms solo pieces stand out for me, but I really am not impressed with her beethoven playing. This is a decent recording of the 4th concerto, but there are some oddities of her playing: e.g. overpedaled. In fact, in the firt movement, what really bothers me is how when she plays an ascending run, you can here her changing the pedal with every downbeat, which is just distracting and doesn't serve the music well. Her opening part (rondo theme) in the 3rd movement has an overly fluid tempo that slows down so she can play the "turn" ornament (I can't spell the german word for it) but then rapidly speeds up to close the theme. I dont know if this is intentional or because it's technically difficult, but she shouldn't stretch the tempo like that.

Bottom line: You can tell this is her style of playing (if you've listened to ehr other cds) but there is nothing that stands out about this recording.

Also, with respect to another review that mentioins how we can be biased to holding the very first recording we hear as "the best," if one's playing is truly great, that will stand out no matter what, even if it's the 100th version/recording you've heard for a certain piece. So for me, there's no way that I canm give Grimaud's 4th concerto recording 5 stars because it pales in comparison to other recordings out there i.e. brendel/levine.

Fine first effort but lacking.......2002-11-19

Grimaud plays all the correct notes, but uses shifting tempos that bewilder and the NY Philharmonic is downright ugly. I suggest Ms. Grimaud listen to the Ashkenazy version w/ Cleveland SO and do better next time.

Joyful & Visionary.......2002-10-25

Utterly compelling account of this most beautiful music. Grimaud plays with profound insight of the sort encountered in Gould's Bach or Malcuzynski's Chopin. The sonatas are a revelation, songful, unsentimentally lyrical and rhythmically perfect. The Op 109 Andante is a stunning illustration of the depth and beauty of the rendition, as indeed is everything on this disc. Perhaps Grimaud's impact will mostly be felt in Beethoven. Excellent recorded sound.

A Great Beethoven 4th Piano Concerto.......2001-04-13

Helene Grimaud is a French pianist who plays as though she was German. Her warm, lyrical playing reminds me of Arrau's and Kempff's. with a bit of Brendel's intelligence thrown in for good measure. In yet another fine recording, she shows that she can play Beethoven as well as the great German pianists I've mentioned. I can't help but wonder what a complete Beethoven concerto cycle with Masur and the New York Philharmonic would sound like. This sublime, well-engineered recording of Beethoven's 4th Piano Concerto is a tantalizing glimpse. Her fine technique harnesses her rich emotions, which she lets loose at appropriate moments, such as the rousing rondo (third movement), never once missing a note. And this fine version of the 4th Piano Concerto is coupled with two of Beethoven's last three sonatas; these are also tantalizing glimpses into what a Helene Grimaud Beethoven piano sonata cycle would sound like. Unlike the noted French pianist Pommier who plays Beethoven's music as though it was composed by Haydn or Mozart, hers would be a lyrical Romantic tour de force.

Speaking of Masur and the New York Philharmonic, they are fine, unassuming accompanists. Their performance has to rank as one of the best they've given on behalf of an accomplished soloist like Ms. Grimaud (Only their collaboration with violinist Maxim Vengerov on Teldec's recently released recording of Dvorak's Violin Concerto might be better.). Once more, this has to rank as among the highlights of Masur's tenure as music director of The New York Philharmonic.

Within the liner notes are a notes describing Ms. Grimaud's devotion towards wolves. Animal lovers of all kinds will be delighted. I commend her keen understanding of the wolf's importance as a key player in forest ecosystems around the globe, especially here in North America. Regarding her devotion towards music and wolves, I can only say je vous aime!

regardless of the pretty face - a commanding performance.......2001-01-31

I have listened to this piece on my cart radio for the first time, and was completely taken by it, having not known the existence of a pretty face behind the piano. The thing about Beethoven for me is the dualism between the compelling and the commanding. One needs to have both faculties at full capacity in order to penetrate the sheer cliffs that are interpreting a Beethoven. HG's way of handling this rough terrain is by means of tempo and pressure. Her stamina in the second movement, and the way she explodes with just the right amount of control in the third is a true triumph. Highly recommended

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