Beethoven: Piano Concertos Nos. 1 - 4 [Import]

Track Listings
1. Concerto For Piano And Orchestra No.1 In C Major Op.15    
2. Concerto For Piano And Orchestra No.1 In C Major Op.15    
3. Concerto For Piano And Orchestra No.1 In C Major Op.15    
4. Concerto For Piano And Orchestra No.2 In B Flat Major Op.19    
5. Concerto For Piano And Orchestra No.2 In B Flat Major Op.19    
6. Concerto For Piano And Orchestra No.2 In B Flat Major Op.19    
7. 1. Allegro Con Brio    
8. 2. Largo    
9. 3. Rondo. Allegro.    
10. 1. Allegro Moderato    
11. 2. Andante Con Moto    
12. 3. Rondo. Vivace.    

Beethoven: Piano Concertos Nos. 1 - 4, Music, Leitner, Kempff, Berliner Philharmoniker, Ludwig Van Beethoven, Classical
Beethoven: Piano Concertos Nos. 1 & 4
Average customer rating: 3 out of 5 stars
  • Counting Stars with Lang Lang.
  • False emotion
  • dexterity unquestioned
  • Without soul!
  • Artistically Improving
 Beethoven: Piano Concertos Nos. 1 & 4

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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  1. Lang Lang: Dragon Songs (Plus DVD)
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ASIN: B000OYC3FM
Release Date: 2007-05-08

Tracks:

  1. 1. Allegro Con Brio
  2. 2. Largo
  3. 3. Rondo. Allegro
  4. 1. Allegro Moderato
  5. 2. Andante Con Moto
  6. 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:

5 out of 5 stars 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.

1 out of 5 stars 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.

4 out of 5 stars dexterity unquestioned.......2007-07-07

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

1 out of 5 stars 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!

4 out of 5 stars 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.
The Violinist
Average customer rating: 4 out of 5 stars
  • 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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  4. The Glory of Rostropovich: 80th Birthday Tribute
  5. Schubert: 8 Symphonies

ASIN: B0000BWTKJ
Release Date: 2003-11-04

Tracks:

  1. I. Allegro
  2. II. Affettuoso
  3. III. Allegro
  4. I. Allegro
  5. II. Andante
  6. III. Allegro Assai
  7. I. Allegro
  8. II. Adagio
  9. III. Allegro Assai
  10. I. Vivace
  11. II. Largo Ma Non Tanto
  12. III. Allegro

Tracks:

  1. Rhapsody No. 2 (Lassu [Moderato] - Friss [Allegro Moderato])
  2. I. Allegro Non Troppo
  3. II. Andante Tranquillo
  4. III. Allegro Molto
  5. I. Andante
  6. I. Allegretto (Scherzando)
  7. II. Allegro
  8. II. Adagio

Tracks:

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

Tracks:

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

Tracks:

  1. I. Allegro
  2. II. Andante
  3. III. Allegro Molto
  4. I. Andante Tranquillo
  5. II. Presto Capriccioso Alla Napolitana & Trio (Canzonetta)
  6. III. Vivace

Tracks:

  1. I. Allegro Moderato (Cadenza: Menuhin)
  2. II. Adagio Molto
  3. III. Finale (Presto) (Cadenza: Menuhin)
  4. I. Allegro
  5. II. Andante Cantabile
  6. III. Rondo (Andante Grazioso - Allegro Ma Non Troppo)
  7. I. Allegro Maestoso
  8. II. Andante
  9. III. Presto

Tracks:

  1. I. Allegro Non Troppo
  2. II. Scherzando (Allegro Molto)
  3. III. Intermezzo (Allegretto Non Troppo)
  4. IV. Andante
  5. V. Rondo (Allegro)
  6. I. Allegro Non Troppo
  7. II. Andantino Quasi Allegretto
  8. III. Molto Moderato E Maestoso - Allegro Non Troppo
  9. Introduction & Rondo Capriccioso, Op. 28
  10. Havanaise, Op. 83

Tracks:

  1. I. Allegro Maestoso (Cadenza: Emile Sauret)
  2. II. Adagio Espressivo
  3. III. Rondo (Allegro Spiritoso)
  4. I. Andante - Moderato - Cadenza
  5. II. Adagio Religioso
  6. III. Scherzo (Vivace) & Trio
  7. IV. Finale (Allegro)
  8. I. Allegro Non Troppo
  9. II. Cadenza
  10. III. Adagio
  11. IV. Allegro Con Fuoco

Tracks:

  1. Serenade Melancolique
  2. I. Allegro Moderato
  3. II. Adagio Di Molto
  4. III. Allegro Ma Non Tanto
  5. I. Praeludium (Largo)
  6. I. Allegro Cavalleresco
  7. II. Intermezzo (Poco Adagio)
  8. II. Rondo (Allegretto Scherzando)

Tracks:

  1. I. Allegro
  2. II. Largo
  3. III. Allegro
  4. I. Allegro Non Molto
  5. II. Adagio
  6. III. Presto
  7. I. Allegro
  8. II. Adagio
  9. III. Allegro
  10. I. Allegro Non Molto
  11. II. Largo
  12. III. Allegro
  13. I. Vivace - Allegro - Adagio - Vivace - Allegro - Largo Andante
  14. II. Allegro
  15. III. Grave - Andante Largo - Allegro
  16. Fantasia Concertante On A Theme Of Corelli

Customer Reviews:

4 out of 5 stars 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. 1-5
Average customer rating: 5 out of 5 stars
  • 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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  5. Beethoven: Complete Works for Piano & Cello

ASIN: B000088DSQ
Release Date: 2003-05-20

Tracks:

  1. Allegro Con Brio
  2. Adagio
  3. Rondo: Allegro Molto
  4. Allegro Con Brio
  5. Largo
  6. Rondo: Allegro

Tracks:

  1. Allegro Con Brio
  2. Largo
  3. Rondo: Allegro

Tracks:

  1. Allegro Moderato
  2. Andante Con Moto
  3. Rondo: Vivace
  4. Allegro
  5. Adagio Un Poco Moto
  6. 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:

4 out of 5 stars 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.

5 out of 5 stars 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.

5 out of 5 stars 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!

5 out of 5 stars 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.

5 out of 5 stars 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
Itzhak Perlman Collection
Average customer rating: Not rated
    		Itzhak Perlman Collection

    Manufacturer: EMI
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B00000DOKC
    Release Date: 1995-01-01
    Beethoven: Piano Concertos Nos. 1-5; Choral Fantasia
    Average customer rating: 4.5 out of 5 stars
    • Not just a May-December marriage but a high point for Barenboim musically
    • Among the best Beethoven Concertos, and an interesting contrast of conductor and pianist
    • Harsh at times
    • unmissable stuff
    • Don't miss the two genius together
    		 Beethoven: Piano Concertos Nos. 1-5; Choral Fantasia

    Manufacturer: Angel Records
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000002S1J
    Release Date: 2002-11-05

    Tracks:

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

    Tracks:

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

    Tracks:

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

    Customer Reviews:

    5 out of 5 stars 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.

    5 out of 5 stars 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).

    3 out of 5 stars 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.

    5 out of 5 stars 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.

    4 out of 5 stars 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.
    Classical Music For People Who Hate Classical Music
    Average customer rating: 5 out of 5 stars
    • A Very Pleasurable Mix
    • Good for beginners.
    		 Classical Music For People Who Hate Classical Music

    Manufacturer: Proarte
    ProductGroup: Music
    Binding: Audio CD

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    1. Classical Music for People Who Hate Classical Music
    2. 25 Classical Favorites

    ASIN: B000000C3P
    Release Date: 1993-02-01

    Tracks:

    1. Canon
    2. Brandenburg Concerto No. 3: Allegro
    3. The Four Seasons: Largo - Allegro
    4. Fanfare
    5. Air On A 'G' String
    6. Eine kleine Nachtmusik: Allegro
    7. Piano Concerto No. 21: Andante: 'Elvira Madigan' Theme
    8. Symphony No. 5: Opening
    9. William Tell Overture: Conclusion
    10. Aida: Triumphal March
    11. The Blue Danube Waltz
    12. Waltz Of The Flowers
    13. 1812 Overture - Conclusion

    Customer Reviews:

    5 out of 5 stars A Very Pleasurable Mix.......2005-10-29

    I still consider myself a rock music fan, but received this CD/album as a Christmas gift in 1995, and have listened to it in my car countless times. It contains a very nice assortment of familiar arrangements performed brillantly by various orchestras. Even if the title doesn't ring a bell, chances are you've heard these songs before and can connect with them. My wife's favorite is "Canon" (she's a diehard romantic) and I'm partial to "Fanfare" (Masterpiece Theater's old theme). Guaranteed to mellow you out while stuck in rush-hour traffic.

    5 out of 5 stars Good for beginners........1999-01-16

    For those of us who think we would like classical music but have no idea where to start or what to buy, this is a good CD. I now have a small classical music library which gives me a great deal of pleasure, but this was one of my first selections. I still enjoy it. I recommend it to friends who are beginning to enjoy classical music and need a place to start.
    Beethoven: Piano Concertos Nos. 1, 2 & 4
    Average customer rating: Not rated
      		Beethoven: Piano Concertos Nos. 1, 2 & 4

      Manufacturer: Oehms
      ProductGroup: Music
      Binding: Audio CD

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      Similar Items:
      1. Piano Concertos 3 & 5

      ASIN: B0006SSSBE
      Release Date: 2005-01-11
      Beethoven: Piano Concertos Nos. 1 & 4
      Average customer rating: 5 out of 5 stars
      • Beethoven: Piano Concertos Nos. 1 & 4
      		 Beethoven: Piano Concertos Nos. 1 & 4

      Manufacturer: Philips
      ProductGroup: Music
      Binding: Audio CD

      All Works by BeethovenAll Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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      Similar Items:
      1. Beethoven: Piano Concerto No. 5/Piano Sonata No. 23
      2. Beethoven: Piano Concertos Nos. 2 & 3

      ASIN: B00005MG9M
      Release Date: 2001-09-18

      Tracks:

      1. Pno Con No.1 in C, Op.15: I. Allegro Con Brio
      2. Pno Con No.1 in C, Op.15: II. Largo
      3. Pno Con No.1 in C, Op.15: III. Rondo: Allegro Scherzando
      4. Pno Con No.4 in G, Op.58: I. Allegro Moderato
      5. Pno Con No.4 in G, Op.58: II. Andante Con Moto
      6. Pno Con No.4 in G, Op.58: III. Rondo: Vivace

      Customer Reviews:

      5 out of 5 stars Beethoven: Piano Concertos Nos. 1 & 4.......2006-07-12

      Beethoven: Piano Concertos Nos. 1 & 4~ Ludwig van Beethoven is an astounding recording of Bethoovens Piano Concertos Nos. 1 in c major, op. 15 & 4 in g major, op. 58. Alfred Brendel is an amazing pianist and verily Beethoven himself would have been satisfied and pleased with his perfomance of his work. Simon Rattle is by no means a slouch and does a fine work as a conductor on this production. The book-let is quite well done and the short essay inside is quite informative and to the point without being too verbose. The photo on the cover is alright but I find that Brendel looks troubled and those glasses are downright awfull that he is wearing. Being an amateur piano player and composer in my own right one soon realizes the amazing genius that Beethoven owest. In fact I dare say no one today can even come close to writing such fine music and only Bach, Mozart and Wagner can be compared to such genius. I highly recommend this amazing cd and verily I give it 5 out of 5 stars without reservation.
      Beethoven: Piano Concertos Nos. 1 & 4
      Average customer rating: Not rated
        		Beethoven: Piano Concertos Nos. 1 & 4

        Manufacturer: Sony
        ProductGroup: Music
        Binding: Audio CD

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        ASIN: B000002AWD
        Release Date: 1994-11-01

        Tracks:

        1. Concerto For Piano And Orchestra No. 1 In C Major, Op. 15: I. Allegro con brio
        2. Concerto For Piano And Orchestra No. 1 In C Major, Op. 15: II. Largo
        3. Concerto For Piano And Orchestra No. 1 In C Major, Op. 15: III. Rondo. Allegro scherzando
        4. Concerto For Piano And Orchestra No. 4 In G Major, Op. 58: I. Allegro moderato
        5. Concerto For Piano And Orchestra No. 4 In G Major, Op. 58: II. Andante con moto
        6. Concerto For Piano And Orchestra No. 4 In G Major, Op. 58: III. Rondo. Vivace
        Beethoven: Piano Concertos Nos. 1 - 4
        Average customer rating: 4.5 out of 5 stars
        • Refreshing Beethoven Performances
        • Fine Beethoven Piano Concerti From Kempff, Leitner, BPO
        		 Beethoven: Piano Concertos Nos. 1 - 4
        Kempff , Leitrner , and Berlin Philharmonic Orchestra
        Manufacturer: Deutsche Grammophon
        ProductGroup: Music
        Binding: Audio CD

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        Similar Items:
        1. Beethoven: Complete Piano Concertos [Australia]
        2. Beethoven: The Complete Piano Sonatas
        3. Schubert: The Piano Sonatas
        4. Tchaikovsky: The Three Piano Concertos
        5. Beethoven: The 9 Symphonies

        ASIN: B000024571
        Release Date: 1998-10-12

        Tracks:

        1. Concerto For Piano And Orchestra No.1 In C Major Op.15
        2. Concerto For Piano And Orchestra No.1 In C Major Op.15
        3. Concerto For Piano And Orchestra No.1 In C Major Op.15
        4. Concerto For Piano And Orchestra No.2 In B Flat Major Op.19
        5. Concerto For Piano And Orchestra No.2 In B Flat Major Op.19
        6. Concerto For Piano And Orchestra No.2 In B Flat Major Op.19
        7. 1. Allegro Con Brio
        8. 2. Largo
        9. 3. Rondo. Allegro.
        10. 1. Allegro Moderato
        11. 2. Andante Con Moto
        12. 3. Rondo. Vivace.

        Customer Reviews:

        4 out of 5 stars Refreshing Beethoven Performances.......2006-08-11

        Although critical opinion seems to favor Kempff's earlier mono set of the Beethoven Piano Concertos with the BPO conducted by Paul van Kempen (now included in a DG "Original Masters" set of Kempff's 50s concerto recordings), I prefer this set, recorded several years later with the same orchestra conducted by Ferdinand Leitner. The stereo sound is certainly an advantage, but also it seems to me that Kempff is on more energized form. The beautiful, limpid sound he got from the piano is everywhere in evidence, but when Beethoven amps it up, Kempff - to my surprise - can storm with the best of them. The Kempen set, by contrast, seems a bit more subdued. I particularly admire the performances of 2 and 4 here. The counterpoint between the heavy BPO sound (though not too galumphing, and Leitner elicits mostly incisive playing) and Kempff's glittering sonority works to magical effect. This is not fiery, sturm-und-drang Beethoven, but nor is it overly refined. These are, instead, performances which really breathe, with a great pianist lovingly exploring this music with poetry, wit, and vigor when needed. These recordings won't appeal to everyone, but, having somewhat burned out on the Beethoven Piano Concertos, I personally found these discs deeply refreshing and rewarding.

        5 out of 5 stars Fine Beethoven Piano Concerti From Kempff, Leitner, BPO.......2003-07-28

        It's a pity that Deutsche Grammophon didn't release the first three concerti in Kempff's final Deutsche Grammophon Beethoven Piano Concerti cycle with Ferdinand Leitner conducting the Berlin Philharmonic as part of its The Originals series of great recordings (Thankfully it has with the 4th and 5th concerti.). Although some say Kempff's playing was more expressive in his 1950's traversal of Beethoven's concerti, his dramatic keyboard technique and lyrical playing still sounds impressive nearly a decade later. Without question these are still among the best recordings of Beethoven's first four piano concerti still available. It's hard for me to single out which of these are best, though Kempff truly shines in both the 3rd and 4th piano concerti, giving exhilarating performances of both works. Leitner leads the Berlin Philharmonic in splendid orchestral performances that are as exquisite as Kempff's playing. The sound quality of this two CD set is quite good, due to Deutsche Grammophon's 24 bit digital remastering.

        Track Listings:

        1. Beethoven: Symphonies Nos. 5-7; Overtures
        2. BEETHOVEN - The String Quartets - Gewandhaus-Quartett 10CD Set
        3. Berlioz: Harold in Italy/Bloch: Voice in the Wilderness [Import]
        4. Berlioz: Symphonie Fantastique; Les Luits d'été; Ouvertures [Import]
        5. Body Music
        6. Brahms: Symphonie No.4/Haydn Variationen/Nanie
        7. Brahms: Symphony No.4/Tragic Overture
        8. Brian Asawa - The Dark Is My Delight And Other 16th Century Lute Songs / Tayler
        9. Dallapiccola: Ulisse
        10. Dream Dance

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