Beethoven: Piano Concertos Nos 1 & 2

Editorial Reviews
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The combination of Lars Vogt's fluid pianism and Rattle's bold, thrustful handling of Beethoven's orchestral part results in a pair of provocative performances that command attention. It's rare to hear these early concertos played with this combination of Haydnesque delicacy and the muscularity of the later Beethoven, an effect enhanced by the up-front engineering. At times, Rattle's attention to detail and dynamic extremes comes perilously close to sounding mannered, but in a concerto setting, the pianist keeps things on an even keel. Vogt's pearly tones and lucid playing in the outer movements are immensely appealing. He uses Beethoven's own cadenzas in both concertos, but--and here is where this release offers an interesting novelty--there's a bonus disc of Concerto No. 1 included, in which Vogt plays the cadenzas written by Glenn Gould for his own use back in 1954. They're wildly different from Beethoven's own; less rhapsodic, more a contrapuntal commentary on the Beethoven text. --Dan Davis

Tracks:

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

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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.

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Early Beethoven Concertos Beautifully Played

Beethoven: Piano Concertos Nos. 1 & 2

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000N60H9K
Release Date: 2007-03-13

Tracks:

I. Allegro Con Brio
II. Largo
III. Rondo: Allegro Scherzando
I. Allegro Con Brio
II. Adagio
III. Rondo: Molto Allegro

Album Description

"I don't think I've ever heard Bronfman play better." - Gramophone

Born in Tashkent, Uzbekistan in 1958, Yefim Bronfman immigrated to Israel at the age of thirteen and later to the US, where he pursued his training at the Juilliard School and the Marlboro and Curtis Institutes under Rudolf Serkin, Rudolf Firkusny, and Leon Fleisher. Bronfman celebrated his international debut in 1975, accompanied by the Montreal Symphony Orchestra under Zubin Mehta. He soon acquired an excellent reputation as a pianist on the stages of the world's major concert halls. Highlights of recent years include concerts with the Berlin Philharmonic, the Chicago Symphony, and the Cleveland Orchestra, the Staatskapelle Dresden, the Gewandhaus Orchestra Leipzig, the Concertgebouw Orchestra Amsterdam, and the Vienna Philharmonic. Yefim Bronfman also gives regular piano recitals in the leading concert halls of the US, Europe, and Asia. As a chamber musician, he has collaborated with the Emerson, Cleveland, Guarneri, and Juilliard Quartets. Other long-term musical partners include Emanuel Ax, Yo-Yo Ma, Joshua Bell, Lynn Harrell, Shlomo Mintz, and Pinchas Zukerman. Bronfman became an American citizen in 1989. Born in 1936, American conductor David Zinman has risen to the pinnacle of his career in the last decade. His discography of over one hundred recordings has won five Grammys and two Grands Prix du Disque. Founded in 1868, the Zurich Tonhalle Orchestra is Switzerland's oldest symphony orchestra.

Customer Reviews:

Early Beethoven Concertos Beautifully Played.......2007-07-03

David Zinman conducting the Tonhalle Orchestra Zurich and pianist Yefim Bronfman have recently collaborated on a recording of Beethoven's five piano concertos and the triple concerto on the budget-priced Arte Nova label. In this recording of the first and second concertos, Zinman, his orchestra, and Bronfman are an ideal match. Zinman has become known for his period performances of Beethoven using modern instruments. His set of Beethoven symphonies has been highly acclaimed. His recording of Beethoven's Missa Solemnis has received mixed reviews, but I enjoyed it greatly. The performance of these concertos is crisp, articulate, boisterous, and ambitious. It brings out the drive, humor,originality and roughness-around-the-edges of early Beethoven. Yefim Bronfman is a powerhouse pianist. But he plays these early concertos idiomatically, lightly, smoothly, and with great flair.

Of Beethoven's five concertos, the fourth and the fifth are mature middle-period works. The third concerto, in C minor, is something of a hybrid between Beethoven's early and middle styles while concertos 1 and 2 are works of the young Beethoven. Beethoven did not compose a late-period concerto, but these five works offer an excellent way of tracking Beethoven's development from his early years in Vienna to his period of maturity. More importantly, they contain unforgettable music.

Beethoven composed the first two concertos for his own performance as a rising young composer in Vienna in his early to mid 20's. The earliest of his concertos is concerto no. 2 in B-flat major, opus 19. This work probably was written in some form before Beethoven moved to Vienna from Bonn at the age of 22. He revised and reworked it many times for his own use before publishing it at last in 1801. Beethoven described the work to his publisher as "A concerto for pianoforte, which, it is true, I do not make out to be one of my best. At the same time it would not disgrace you to engrave this concerto." The second remains the least-familiar of Beethoven's concertos.

Particularly in its opening movement, the work has a bumptious, patchwork quality, probably due to Beethoven's many revisions of the score as well as to his youth. But the work has lovely movements, particularly in its lyrical second theme and in the delicate runs and movement of the piano part. The highlight of the work is the Adagio, a flowing and serious slow movement which builds dramatic tension in long solo passages for the piano towards the end. The finale of the second concerto is a boisterous rondo with a short, catchy and humorously syncopated theme. If Beethoven was correct in regarding the concerto as "not one of my best" he was also right that the work did not put him or his publisher to shame. The work, which owes a great deal to Mozart and Haydn, well rewards hearing.

The piano concerto no. 1 in C major, opus 15 was composed in 1795 also primarily as a performance vehicle for Beethoven. This work is much more cohesive than the B-flat major concerto and was also published in 1801, several months after its companion. The opus 15 is a festive, high-spirited work, replete with tympani and trumpet as befitting an orchestral piece in C major. The opening movement features a range of themes, but it focuses on a march-like military phrase introduced at the outset by the orchestra and on a solo martial theme given to the piano. The piano part is full of filigree, long runs, trills and singing themes. Beethoven wrote a famously difficult cadenza for this early work. The largo, opens with a lyrical, reflective theme in the piano which is clung to and developed over the course of an extended movement, culminating in another floridly elaborate piano solo towards the end. The final rondo, which Beethoven is said to have composed in two days, is lively and rhythmical with some strongly accentuated dance themes as it proceeds. In this concerto, Beethoven comes into his own voice as a young composer while still building of the work of his great predecessors.

Zinman and Bronfman offer a thoroughly enjoyable and idiomatic performance of early Beethoven. This is a lovely disc and at its low price offers an excellent way to get to know and love this music.

Robin Friedman

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Pletnev on Beethoven 1 & 3
Distinctive, Imaginative Playing from Pletnev and the RNO in these two Beethoven piano concerti
An imagiinative triumph for Pletnev

Beethoven: Piano Concertos Nos. 1 & 3

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000L21DN0
Release Date: 2007-03-13

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These are aggressive, somewhat eccentric readings of these concerti. They are given performances of real fire, and Pletnev takes interesting liberties with dynamics. Sudden passages of very loud or very soft playing ensure that we will not be bored. At times he uses rubato the way an Italian tenor might, which is to say, interestingly but with dubious taste. There is a moment in the First Concerto's Largo that is taken so slowly it sounds as if something might have gone wrong with the CD. It appears that Pletnev has approached both of these works as exemplars of high Romanticism, whereas the first, in particular, looks back to Mozart. This is not to say that he does not play impeccably. His tone is always handsome and no matter how loudly he plays, he never distorts. Whether or not one agrees with his "re-interpretations," it is impossible not to be riveted. Pletnev says in the accompanying notes that his wish is that "every scream, every moment of joy" in the music "should be lived through as it's lived in our real lives." Those who know these concerti well might be surprised at how many screams Pletnev finds. The orchestra plays with great transparency under Christian Gansch. Nothing if not entertaining. --Robert Levine

Customer Reviews:

Pletnev on Beethoven 1 & 3.......2007-05-30

Pletnev is superb and the Russian orchestra is the best I have heard.

Distinctive, Imaginative Playing from Pletnev and the RNO in these two Beethoven piano concerti.......2007-03-28

Mikhail Pletnev has earned ample praise for his thoughtful, distinctive style of playing, never one to adhere strictly to time-worn traditions or the latest trends, such as period instrument-informed performance. Indeed, in the liner notes, Pletnev is quoted as saying that period instrument-informed performance is an idea that he regards as "ultimately self-defeating, because no great composer was ever satisfied with the instruments that he had at his disposal". Here he has embarked on a series of Deutsche Grammophon recordings recorded live late last year at the Beethovenfest in Bonn, Germany (Beethoven's birthplace) playing the entire Beethoven piano concerti cycle and conducting the entire Beethoven symphony cycle with the orchestra he founded, the Russian National Orchestra, which has earned ample worldwide acclaim inspite of its youth.

His playing of both Beethoven concerti is like none other that I've heard recently from the likes of Aimard, Brendel, Schiff, or Vogt to name but a few. While he adheres to Classical tradition only in soft, subtle playing of the keys where it is required, its mostly a fiery Slavic Romantic interpretation which we hear from him, in which he emphasizes loud, dramatic playing. His fiery, incandescent interpretation of the 1st Piano Concerto stands in stark contrast to a more elegant, refined interpretation I had heard earlier this month at Carnegie Hall from Martha Argerich accompanied by the Philadelphia Orchestra conducted by Charles Dutoit. Hers was a strictly Classical interpretation emphasizing the score's stylistic ties to Mozart's last, great piano concerti. In Pletnev's hands, the 3rd Piano Concerto receives a similar treatment, in which he emphasizes sudden changes in tempi and sound, such as in dramatic shifts between soft and loud playing, emphasizing a more Romantic connection to this work, than acknowledging its late Classical origins. While Pletnev adheres faithfully to the notes of Beethoven's scores, his style of playing is more improvisational, and thus perhaps more riveting, than other, more recent interpretations of both concerti that I have heard either live or in recordings.

I haven't heard of conductor Christian Gansch before, but he does an excellent job conducting the Russian National Orchestra in two performances that do acknowledge period instrment practice, but only to a certain extent, especially in the lean textures articulated by the wind and string sections. Indeed critic David Gutman observes in the liner notes that the Russian National Orchestra "combines lean-toned intimacy with darker Slavic sonorities. The authenticity sought is emotional, its only requirement to make the music live again for us in the here and now."

Needless to say the sound quality of this CD is superb, up to the usual high standards one expects from Deutsche Grammophon, even though this CD is from a live concert performance. I eagerly await the release of the rest of Pletnev's Beethoven piano concerto cycle, and his turns at the podium in conducting Beethoven symphonies. But I would recommend this CD as a viable, dramatic alternative to those interested in hearing a splendid recent recording of these two Beethoven piano concerti, not as a primary recommendation, even though it still earns high praise for me. For primary recommendations, I would recommend instead recordings made by Pierre-Laurent Aimard, Claudio Arrau (either of his Philips cycles), Alfred Brendel (especially from his first or second Philips cycles), Murray Perahia, and Andras Schiff.

An imagiinative triumph for Pletnev.......2007-03-14

Listening to the thousand-and-one tinkerings that Mikhail Pletnev makes in the simple Concerto #1 of Beethoven, I was reminded that this quirky artist feels free to embellish any composer, including Beethoven. You find this either irritatingly intrusive or delightfully imaginative. There are days when I can't decide which. Here the overall results are undeniably appealing, however. We know that Beethoven improvised freely at the keyboard, and althoug Pletnev doesn't add new notes, he improvises the feeling of the music, tending toward a romantic sprightliness. He makes phrases erupt, then whisper. He races around corners where other pianists don't realize that corners exist.

It's helpful that most of these expressive turns are on the micro scale. You won't hear gross distortions, and Pletnev's rubato isn't totally extreme (it comes close, though). The Concerto #3 is considered bigger and more romantic than the First, an entry into mature Beethoven, but Pletnev is light and playful in both works. I don't know his accompanist, conductor Christian Gansch, but he's a find. He gets very lovely, imaginative playing from the Russian National Orch., and DG's sound is excellent.

It all adds up to a novel, highly enjoyable version of two familiar works that Pletnev hears in unfamiliar ways.

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Perfect Blend: Peraiha and Beethoven
The gold standard...
Perahia Impresses With Musicality and Beautiful Tone
Great Sound and great performances
Emotionless Recording

Beethoven: Piano Concertos Nos. 1 & 2
Ludwig van Beethoven , Murray Perahia , and Bernard Haitink
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000026EW
Release Date: 1990-10-25

Tracks:

Concerto No. 1, Op. 15 In C Major - Allegro Con Brio
Concerto No. 1, Op. 15 In C Major - Cadenza
Concerto No. 1, Op. 15 In C Major - Largo
Concerto No. 1, Op. 15 In C Major - Rondo: Allegro Scherzando
Concerto No. 2, Op. 19 In B-Flat Major - Allegro Con Brio
Concerto No. 2, Op. 19 In B-Flat Major - Cadenza
Concerto No. 2, Op. 19 In B-Flat Major - Adagio
Concerto No. 2, Op. 19 In B-Flat Major - Rondo: Molto Allegro

Customer Reviews:

Perfect Blend: Peraiha and Beethoven.......2007-06-08

I have always been a fan of Murray Peraiha's recordings. Recently I decided to explore all of Beethoven's piano concertos and needed a recording of No. 2 to complete my set. Fortunately, Peraiha's includes No. 1 with the No. 2. I've always loved the No. 1 with its syncopated jazz references.

The gold standard..........2007-05-09

In my opinion the Perahia recordings of the Beethoven five are the gold standard in recordings of this music. I also own various recordings by Kempff, Schnabel, Rubinstein, Pollini, and Cliburn of this same music, but Perahia delivers outstanding musicianship in a modern recording.

Since these are early digital recordings, they may lack the ultimate warmth of sound of modern CD's. But I don't find them grating or offensive in this department.

These are the recordings (of all five) that I listen to most frequently.

Perahia Impresses With Musicality and Beautiful Tone.......2000-02-25

Murray Perahia is regarded by many as the pianist's pianist. He shows the highest level of musicianship and preparation, which more than compensates for his narrow repertoire as a Mozart specialist. He simply never makes an ugly sound on the piano, and he never turns a phrase poorly or unmusically. There is a reason why pianists flock to his concerts and treasure his recordings: his musicianship is truly impeccable.

While some of his more recent performances have shown an unusual number of technical mistakes, this performance comes from his series of the complete Beethoven piano concerti recordings in the 1980s with Haitink and the Concertgebouw when Perahia was in top form. For those who like their Beethoven with excessive Romanticism or virtuousity from the late 19th century retroactively applied, Perahia will disappoint (while Fleisher and Ashkenazy might be considered more appropriate); for those who value careful craftsmanship and a beautiful tone, Perahia will satisfy. Let's hope that he decides to undertake a cycle of the complete piano sonatas next.

Great Sound and great performances.......2000-01-02

I want to say the sound on these CD's is superb. The warmth and clarity is outstanding. The dynamic range is just as it should be. The quiet moments are quiet but not lost, as is so often the case. As far as the performance goes, I find them true to the spirit of the compositions. These concertos do represent a very classical Beethoven who was still learning to write for the Symphony. To impose some pseudo or artificial romanticism on these classical sonatas would be ghastly. In fact, that is my very problem with the Klemperer/Barenboim rendition of these same pieces (the quiet sections of which you cannot here unless you are using headphones, or sitting in TOTAL silence, certainly not driving or working at a PC!). There is a wonderful genuine expression on these Perahia/Haitink recordings that bring life to this music. Outstanding!

Emotionless Recording.......1999-12-27

The problem I have with the Periah/Haitink Concertos is 1) The recording quality is really bad. The dynamic range is very small, which can singlehandedly make a performance sound dull. Hard to believe it is DDD. 2) I think Murray Periah should stick to Mozart's concertos. His playing is very fluid, and playful, which makes Beethoven's concertos sound less Romantic, and more classical. (no to say that classical is bad, but LvB was trying to break away from the classical era). 3) The linear notes aren't very insightful. You don't learn much about the pieces except what happened when they were first performed.

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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. 1 & 3 / Michelangeli, Giulini

Average customer rating:

Michelangeli is in full command
SHEER DELIGHT
Something went wrong in the DG studio, I fear
Beautiful performance and recording
Unusual Piano Playing are Just as Likely Giulini's Idea!

Beethoven: Piano Concertos Nos. 1 & 3 / Michelangeli, Giulini

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Arturo Benedetti Michelangeli Vol. 2 [Germany]
Brahms, Schubert, Beethoven / Arturo Benedetti Michelangeli

ASIN: B000001GXL
Release Date: 1998-01-27

Tracks:

Concerto For Piano And Orchestra No. 1 In C Major: 1. Allegro con brio
Concerto For Piano And Orchestra No. 1 In C Major: 2. Largo
Concerto For Piano And Orchestra No. 1 In C Major: 3. Rondo. Allegro
Concerto For Piano And Orchestra No. 3 In C Minor: 1. Allegro con brio
Concerto For Piano And Orchestra No. 3 In C Minor: 2. Largo
Concerto For Piano And Orchestra No. 3 In C Minor: 3. Rondo. Allegro

Customer Reviews:

Michelangeli is in full command.......2006-09-26

From the moment he apeared on the scene after WW II, through periods of great acclaim, retirement, re-emergence, notorious cancellations, and final deification, Michelangeli created an aura around himself. He was so aloof, patrician, and unapproachable that audiences felt privileged if he even showed up--and then there was his demand for strict silence and a darkened hall before he would play the first note. Remembering all that is easy thanks to these magisterial readings of the Beethoven First and Third concertos.

Late in his career, Michelangeli found a soul mate in Giulini, both committed to old-fashioned, intense, personal musicmaking. The First concerto starts off broadly, and one imagines this will be an exercise in patience, but the minute Michelangeli enters, you can't help but be riveted. It's not that he employs fireworks a la Horowitz--if anything, the playing is fairly relaxed. It's all in the pianist's total command of each note, thanks to his legendary touch. The simplest scale is completely captivating. (It was a regular habit of Michelangeli's to choose 'simple' music like this concerto, which even a good student can manage, just to hypnotize the audience with his artistry.)

The Third concerto is cut form the same cloth. It's soulful, reticent, and deeply felt. Since the keyboard writing is more difficult in this work, we get to hear the magic he could pull off in terms of balance and tone. I don't know how many listeners exist for this kind of music-making, but I'm very grateful that it has been preserved on records.

SHEER DELIGHT.......2006-07-21

One man's view: I feel I've never heard these pieces before when I put this CD on. ABM's approach is magical to me. He's forceful yet somehow graceful and fluid. Assured. Precise. I find I want to play his CDs just to hear his touch on the piano. It's like a swim in healing tropical waters. Highly recommended!

Something went wrong in the DG studio, I fear .......2006-06-12

I have old LP and cassette versions of the Concerto #1 and something has gone wrong, in my view, with this CD version. First, the audience applause is gone altogether, just blanked out--a shame, it seems to me. Second and more importantly, Michelangeli's wonderfully wild dynamic range has been dampened, modified, and noticeably limited, while the orchestra is now bolder. The choice of balance is regrettable here: Deutsche Grammophon has shortchanged Michelangeli of his poetic power; we no longer fully hear his crashing chords and exquisite faint passages, the jocularity and impishness of this early masterpiece by Beethoven. I bought the CD with high hopes; try listening to the original DG versions and I do think you'll hear what I mean. But then it is still Michelangeli, still stirring and blindingly accurate and memorable.

Beautiful performance and recording.......2002-05-26

This is a wonderful CD, at an excellent price. The interpretation of the First Piano Concerto does allow Beethoven to be Beethoven, as another reviewer has remarked. Some performances of this concerto sound dismissive, but this one is evocative and sensitive.

I love the Third, Fourth and Fifth Concertos. The Third was my introduction to Beethoven Piano Concertos through listening and following the score in Year Ten Music classes. It is a remarkable work, with some similarities to the Fifth Symphony in the way Beethoven exhaustively develops the opening theme of the first movement.

Highly recommended recording.

Unusual Piano Playing are Just as Likely Giulini's Idea!.......2002-04-06

Oh, dear friends, after reading the reviews that preceed this minor contribution by your fair simpleton, where to begin? LVB is a POST Classical composer, so ANYTHING goes with these radicals and thier really big bands. Interpretation is EVERYTHING with LVB and those to come. LVB is the king of kings in regards to emotionalism. So, why all the hand-wringing as if these pieces were baroque pearls. Giulini and Mich. are superb on this recording for the very reasons others cite as their flaws. And let's face it, while this humble contributor finds Giulini's recording of LVB's 5th Symphony with the L.A. Philharmonic to be a bombastic, over-the-top, hyper-emotional vulgar-fest, that same recording is considered by MANY to be among the greatest recordings of said piece--EVER!! Come now! Can a recording by one of the greatest conductors of LVB, Maesto Giulini, be as bad as others have suggested? NO! NO! NO! Why some have written about this CD as if it were one of Abbado's accidental fender benders with LVB is unknown. And I do love Abbado so, but in attempting to don the lampshade, he has broken the LVB lamp itself in the process. This performance on this CD with Giulini and Mich. is a breath of fresh air for these well known works. Agreed, the points of musicianship cited by others is accurate, but those are this CD's strengths, not weaknesses. This CD is truly among my favoirite versions of LVB piano concertos. My ONLY complaint: it is an ANALOG recording. However, the compromise is not enough to ruin the beauty of these performances. I forget which, but one of the recordings is a live performance (I know, Giulini ALWAYS insisted upon live "takes") for a TV broadcast. Live performances in halls for broadcast are an additional compromise, and you will hear some instuments lost in the muddle, but DG, always the wizards of audio, still manage to make it an experience to remember.

Beethoven: Piano Concertos Nos. 1 & 2 [Germany]

Average customer rating:

Beethoven: Piano Concertos Nos. 1 & 2 [Germany]
Pollini , Abbado , and Berlin Philharmonic Orchestra
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B000025XO4
Release Date: 1995-04-10

Tracks:

Konzert Fur Klavier Und Orchester Nr.1 C-Dur Op.15 / Allegro Con Brio
Konzert Fur Klavier Und Orchester Nr.1 C-Dur Op.15 / Largo
Konzert Fur Klavier Und Orchester Nr.1 C-Dur Op.15 / Rondo. Allegro [ Scherzando ]
Konzert Fur Klavier Und Orchester Nr.2 B-Dur Op.19 / Allegro Con Brio
Konzert Fur Klavier Und Orchester Nr.2 B-Dur Op.19 / Adagio
Konzert Fur Klavier Und Orchester Nr.2 B-Dur Op.19 / Rondo. Molto Allegro

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
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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

Tracks:

Pno Con No.1 in C, Op.15: I. Allegro con brio
Pno Con No.1 in C, Op.15: II. Largo
Pno Con No.1 in C, Op.15: III. Rondo (Allegro scherzando)
Pno Con No.2 in B flat, Op.19: I. Allegro con brio
Pno Con No.2 in B flat, Op.19: II. Adagio
Pno Con No.2 in B flat, Op.19: III. Rondo (Molto allegro)

Tracks:

Pno Con No.3 in c, Op.37: I. Allegro con brio
Pno Con No.3 in c, Op.37: II. Largo
Pno Con No.3 in c, Op.37: III. Rondo (Allegro)
Pno Con No.4 in G, Op.58: I. Allegro moderato
Pno Con No.4 in G, Op.58: II. Andante con moto
Pno Con No.4 in G, Op.58: III. Rondo (Vivace)

Tracks:

Pno Con No.5 E Flat, Op.73 'Emperor': I. Allegro
Pno Con No.5 E Flat, Op.73 'Emperor': II. Adagio un poco mosso
Pno Con No.5 E Flat, Op.73 'Emperor': III. Rondo (Allegro)
Fant in C for pno, chor and orch, Op.80 - Daniel Barenboim/John Alldis Choir/John Alldis

Customer Reviews:

Not just a May-December marriage but a high point for Barenboim musically.......2006-05-17

Listening to these imaginative and ingratiating performances of the five Beethoven piano concertos, I marvelled at Barenboim's early maturity. He displays uncanny poise and confidence, fully equal to Klemperer's grand manner. Sadly, the mid-Sixties was about the last time I could connect with Barenboim, whose romantic tendencies, so impressively applied here, went off into caricature: he began to channel Furtwangler and hasn't stopped, despite the fact that it caused him to lose his best musical instincts. (His cycle of the Beethoven symphonies with the Berliner Staatskapelle is so stody and dull that it might as well join Furtwangler in the grave.)

That's irrelevant here. The amazing thing for me is that Barenboim proves so successful at making these overly familiar works sound fresh through pure musical insight of the kind Schnabel might have--every movement really speaks under his hands. As for Klemperer, his is simply the greatest condcuting ever found in a complete Beethoven cycle. I got more feeling from these CDs than from his at times ponderous symphony recordings. For example, in the slow movement of Concerto #2, pianist and conductor agree that the style should be mature Beethoven, with full sonority, measured tempos, and weightiness. That may sound like a bad idea in this Haydnesque early work, but by the time they build to the hushed, mysterious coda, we are transported to an inspired world. Throughout there is the same stamp of genuineness.

Barenboim eschews virtuoso gimmicks and never powers his way through the score. I must confess that I waited forty years to buy this set, on the assumption that Klemper would be inattentive and heavy-handed. How very wrong I was. This Beethoven cycle sets the gold standard.

Among the best Beethoven Concertos, and an interesting contrast of conductor and pianist.......2005-11-15

Daniel Barenboim's late 1960s recording of the Beethoven Piano Concertos is one of the best, and an interesting contrast: the young, brilliant pianist Barenboim with the elderly condcutor Klemperer. Klemperer was known for slow tempos by the 1960s, and a sense of granitic structure: like viewing a beautiful rock hewn of granite from a distance, but not something you can get close to, nor call "charming" or "loving." This sense is present in Klemperer's orchestral contribution to these recordings: tempos are never too fast, and there is a sense that something timeless and great is going to happen in every movement. Barenboim's pianism seems awesome: flawless and technically perfect, and the Philharmonia Orchestra plays beautifully in each concerto. Recorded sound is very good: analog stereo from the late 1960s.

Keep in mind, however, these are not "cold" recordings. The music may be calculated under Klemperer's direction to a certain degree, but everything makes perfect musical sense, and Beethoven's titanic greatness shines throughout. If you like a more lean approach to Beethoven's Concertos, avoid Barenboim/Klemperer.

Some listeners may not agree, but I believe Barenboim/Klemperer's Beethoven Concertos to be among the best, along with Ashkenazy/Solti (Decca); Rubinstein/Leinsdorf (RCA/ Boston Symphony); and for a more Classical approach free of Romantic excess, Perahia/Haitink (Sony).

Harsh at times.......2000-01-01

For my taste, these were disappointing. The dynamic range is so great in the recording, you cannot easily find a comfortable volume. Softer passages are either lost or the sound becomes blaring. Yes, Klemperer is a grand master, but the Orchestra often sounds overly romantic and pompous for my ears. I have an Annie Fisher recording of the 3rd Concerto and every moment that makes that CD memorable is missing on this version of the 3rd. For example, there is a passage in the first movement that occurs twice. The piano hits several increasingly powerful octaves slightly behind the orchestra. Annie Fischer's final Octave is so powerful in that the pause leading up to it is greater and the depth of her conviction in solidly ringing it out is profound. On the Klemperer/Barenboim recording this monumental moment passes mostly unnoticed. Also, the piano has an almost harsh ringing sound. Infact, the entire recording has a supercharged high end that can be oppressive. I would also recommend the Ashkenazy, Mehta recording of the 4th and 5th. That recording has a warmth of orchestral sound that seems more natural to me. I also find that Barenboim and Klemperer do not seem to be seeing things eye to eye, especially in the 5th. Don't get me wrong, these are classic performances, I just will not reach for them as often as the others and I simply offer an opinion.

unmissable stuff.......1999-12-15

How lucky we are that Daniel Barenboim began to mature as a great artist with Klemperer enjoying a glorious Indian summer. This is a miraculous recording. The 24-year-old Barenboim is a match for the magisterial Klemperer, who was almost three times the age of his precocious pianist. It's remarkable to find two artists of such different ages cooperating so well. And they're fully equals as well - this is a version of the Beethoven concertos with soloist as primus inter pares (to quote one reviewer). The Emperor has seldom sounded so grand. The orchestral playing is quite something as well.

Don't miss the two genius together.......1998-10-17

Again the power of the old Klemperer bright like a spark in the dark sea of his no-rithm measures. A young and brilliant Baremboim that plays like the angels. Anyway, don't miss the Piano Con. n.5 conducted by Knapertbusch and played by Curzon for taste the glory.

Track Listings:

Track Listings

Mosaic Select: Duke Pearson [Box set]

In & Out of Focus

That's the Reason

The Divine Sarah Vaughan: The Columbia Years 1949-1953

The Great Violinists, Vol. 7

The Rambling Boys [Import] [Limited Edition]

The Coalition of the Willing