Piano Concertos in C & E Flat

1. Concerto for piano & orchestra/1 in C major, Op 14
Composed by Franz Xaver Wolfgang Mozart
Performed by Cologne Radio Orchestra with Klaus Hellwig
Conducted by Roland Bader

2. Concerto for piano & orchestra/2 in E flat major, Op 25
Composed by Franz Xaver Wolfgang Mozart
Performed by Cologne Radio Orchestra with Klaus Hellwig
Conducted by Roland Bader

Tracks:

Piano Concerto No. 19 In F, KV 459: Allegro Vivace
Piano Concerto No. 19 In F, KV 459: Allegretto
Piano Concerto No. 19 In F, KV 459: Allegro Assai
Piano Concerto No. 20 In D Minor, KV 466: Allegro
Piano Concerto No. 20 In D Minor, KV 466: Romance
Piano Concerto No. 20 In D Minor, KV 466: Allegro Assai
Rondo In D, KV 382: Allegretto Grazioso
Rondo In D, KV 382: Adagio
Rondo In D, KV 382: Allegro
Piano Concerto No. 23 In A , KV 488: Allegro

Tracks:

Piano Concerto No. 23 In A, KV 488: Adagio
Piano Concerto No. 23 In A, KV 488: Allegro assai
Piano Concerto #21 In C, KV 467: Allegro
Piano Concerto #21 In C, KV 467: Andante
Piano Concerto #21 In C, KV 467: Allegro Vivace Assai
Piano Concerto No. 24 in C Minor, KV 491: Allegro
Piano Concerto No. 24 in C Minor, KV 491: Larghetto
Piano Concerto No. 24 in C Minor, KV 491: Allegretto
Rondo In A, KV 386

Customer Reviews:

cherry picking.......2007-02-15

Pity Alfred Brendel, Neville Marriner, and the incomparable Academy of St Martin in the Fields having to play this luscious span of concertos from the sweet spot of Mozart's oeuvre.

If there is sweeter music in the universe, it must lie at the depths of the sea or some equally inaccessible place, far from eyes and ears that could compare it to Mozart's piano concertos no. 19-24.

Mozart's piano concerti, perhaps more than those of any other composer, shape the solo instrument's phrasing so that its entrances and exits vis-à-vis the orchestral score are nearly seamless. Brendel and his supporting cast perform this aspect of the music as well as can be done.

In the stellar Philips Classics 'Duo' series, this recording may well reign supreme. It's as good as it gets.

Brendel and Marriner play Mozart at a bargain price.......2006-08-18

Philip's two double-CD sets of Alfred Brendel and Neville Marriner performing a total of ten of Mozart's great piano concertos, plus two rondos for piano and orchestra, must rate as one of the best of many bargains available in their "2 for 1" series. The four CDs add up to close to five hours of music, most of it essential listening for anyone interested in Mozart, great piano music, and great concertos.

This first of the two sets contains four indisputable masterpieces. In the stormy D minor Concerto K. 466, Brendel springs a mild surprise by playing his own cadenzas rather than Beethoven's, the ones most often used. I must confess to preferring Beethoven's unstylish but dramatic and imaginative cadenza to the first movement, but otherwise the performance is beyond reproach. Brendel adds some discreet and entirely appropriate ornamentation to the many repetitions of the second movement's main theme. The Olympian C major K. 467, with its incomparably beautiful slow movement, also receives some much-needed decoration: here the cadenzas are by Radu Lupu and are a bit quirkier than necessary. Although the soloist's tone and phrasing in the wistful K. 488 are ravishing in the first two movements, the starker phrases of the F-sharp minor Adagio are better left undecorated--for once Brendel's practically unerring sense of propriety in added ornamentation goes slightly off. In my opinion the best of a superb set of performances is that of the C minor, K. 491: Brendel and Marriner catch every nuance of tragedy while never slighting the grace of the music--the problem of writing an appropriate first-movement cadenza, difficult since Mozart left none of his own, is brilliantly solved here by the soloist.

Although in a set billed as Mozart's "Great Piano Concertos" I might have opted, narrowly, for including K. 453 in G major over K. 459, it cannot be denied that all involved seem perfectly attuned to the quicksilver energy and unexpected contrapuntal intricacies of the F major work. The two additional rondo movements, one a lightweight replacement for the original finale of Mozart's very first original piano concerto, the other a possible alternate finale to his earlier A major Concerto K. 414, are a delightful bonus. Incidentally, although the splitting of K. 488 across two generously filled CDs is an annoyance, timing restrictions would not have permitted cramming three complete concertos onto one CD as another review suggests.

Mozart: The Great Piano Concertos, Vol. 1 Alfred Brendel.......2006-07-10

Nice interpretation of Mozart's piano concerto.

Mozart's great piano concertos, Vol 1 and Vol 2.......2006-07-10

We love Mozart. Especially his piano concertos. We purchased these volumes, because we wore out our cassette tapes.
Mozart piano concertos performed by Arthur Brendel and the Academy of St. Martin in the Fields, It does not get much better than that. 5 hours of music as a very reasonable price!

I even ordered a second set to give to a friend.

great pianist, great price, bad track listing.......2006-02-16

Alfred Brendel is one of the world's most famous pianists, but not for reasons that make Argerich, Paderewski, or Rubinstein famous. Brendel is an expert both artistically and technically but he is not given to highly individualistic interpretations that rattle purists and create controversy. In other words, Brendel is a highly reliable pianist. Like Murray Perahia, there are no let downs in his recorded performances. For this and the price, no one should pass up this 2 disc recording.

The only downside is the recording's track listing. Piano Concerto No. 23 is split: its first movement is in the first disc while its last two movements are in the second. Bewildering especially since the piano concertos are not sequenced chronologically. And the insert doesn't help. It does not explain the track arrangement (is it by the year of recording? by importance in Mozart's ouvre?). Nonetheless, there it is, Piano Concerto No. 23 separated into two cds. Why this has to be is difficult to understand. The first movement, allegro, is 11.04 minutes long; in the second disc, a one movement rondo, Rondo in A, KV 386, is 8.32 minutes long. Why wasn't this rondo placed in the first disc to allow a seamless playing of Piano Concerto No. 23?

This is annoying if your player does not support multiple disc playing. I bought this 2 cd set specifically for Piano Concerto No. 23, whose second movement I love. It is one of the most sublime of piano adagios, up there with the second movements of Chopin no. 1, Rachmaninoff no. 2, Shostakovich no. 2. And I bought it specifically for Brendel's performance with the ASMITF, conducted by Neville Marriner. Brendel really makes the piano weep here. His evocations of a human's cycle of grief and redemption make the performance definitive for Piano Concerto No. 23. If the split won't bother you, do yourself a favor and get a copy.

Beethoven: The Complete Symphonies and Piano Concertos

Average customer rating:

Great Performance
Great Analog Beethoven Cycle
An essential collection
The best value in classical music on CD at the moment...
Wonderful Performances

Beethoven: The Complete Symphonies and Piano Concertos

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven - The Complete String Quartets / Alban Berg Quartet
Mozart:The Complete Piano Sonatas and Variations
Beethoven: Complete Piano Sonatas / Daniel Barenboim
Dvorák: The Symphonies
Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

ASIN: B00004YA0S
Release Date: 2000-11-07

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Andante Cantabile Con Moto
III: Menuetto & Trio: Allegro Molto E Vivace
IV: Adagio - Allegro Molto E Vivace
I: Allegro Ma Non Troppo
II: Andante Molto Mosso
III: Allegro - In Tempo D'allegro - Tempo I
IV: Allegro
V: Allegretto

Tracks:

I: Allegro Con Brio
II: Marcia Funebre: Adagio Assai
III: Scherzo & Trio: Allegro Vivace
IV: Finale: Allegro Molto - Poco Andante - Presto
Gross Fuge

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Larghetto
III: Scherzo & Trio: Allegro
IV: Allegro Molto
I: Allegro Con Brio
II: Andante Con Moto - Piu Mosso - Tempo I
III: Allegro -
IV: Allegro - Presto

Tracks:

I: Adagio - Allegro Vivace
II: Adagio
III: Menuetto: Allegro Vivace - Trio: Un Poco Meno Allegro
IV: Allegro Ma Non Troppo
I: Poco Sostenuto - Vivace
II: Allegretto
III: Presto - Assai Meno Presto
IV: Allegro Con Brio

Tracks:

I: Allegro Vivace Con Brio
II: Allegretto Scherzando
III: Tempo Di Menuetto
IV: Allegro Vivace
Overture
Overture
Overture
Overture

Tracks:

I: Allegro Non Troppo, Un Poco Maestoso - Christa Ludwig
II: Molto Vivace - Presto - Christa Ludwig
III: Adagio Molto E Cantabile - Andante Moderato - Christa Ludwig
IV: Presto - Recitativo - Allegro Assai - Alla Marcia - Christa Ludwig
Overture - Christa Ludwig

Tracks:

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

Tracks:

I: Allegro Con Brio
II: Largo
III: Rondo: Allegro
I: Allegro Moderato
II: Andante Con Moto
III: Rondo: Vivace

Tracks:

Fantasia For Piano, Chorus And Orchestra
I: Allegro
II: Adagio Un Poco Mosso -
III: Rondo: Allegro

Amazon.com essential recording

Otto Klemperer's Beethoven is one of the towering achievements in the history of recordings. By today's standards, these performances are hopelessly old-fashioned: dark, heavy, and frequently very slow. But they are also the grandest, most unsentimental, most purposeful versions in the catalog. In addition, the relatively slow tempos (only in the fast movements--the slow ones are pretty swift) and forward wind balance permit more detail to be heard than in most original-instrument performances. At budget price and with the entire piano concerto cycle thrown in for good measure, this is greatness incarnate. --David Hurwitz

Customer Reviews:

Great Performance.......2007-07-07

There are many different ways to perform Beethoven and each one is valid.
If you like it fast - go to Toscanini or Norrington. If you prefer slow, powerful and majestic, this is your set. Towards the end of his distinguished career, the great Otto Klemperer set down his final views of the performance of these symphonnies. The set is a coherent whole and will give great pleasure for ever. The challenging mix of the young Barenboim and the aged Klemperer worked surprisingly well and thus the concertos may also be recommended. There are odd additional items which add to the pleasure. Finally do not forget to purchase his memorable set of 'Fidelio' to complete your traversal of a great conductor giving great performances of a composer that he loved. Finally the price is ridiculously low and provides quality and quantity at a great price. Thus you should be able to buy the opera set from the savings made!

Great Analog Beethoven Cycle.......2007-05-07

This Klemperer cycle is just one of a dozen or so GREAT analog Beethoven symphony cycles that were recorded during Analog's golden age starting about 1958. These cycles are easily a match for digital and they should still be around for another 1,000 years, if the Lord tarries. These sets include: Karajan (twice, early 60s and late 70s) Bohm, Krips, Jochum, Bruno Walter, Leinsdorf, Rene Leibowitz, Szell, Ormandy, Bernstein, Steinberg, and Solti. This morning I listened to the Klemperer recordings of Beethoven's symphonies 5, 6, & 7. Very enjoyable, I got my Beethoven RDA fix.

Of all these Analog sets, I most enjoy the Leibowitz Spring 1961 cycle with the Royal Philharmonic. I have this cycle on an audiophile early 90s European import Edition Phoenix label special pressing "on extra virgin vinyl." These are by far the best analog symphonic lps I have ever heard from a recording standpoint. BY FAR! And they will rock your house.

You can almost justify Karajan's 4 recorded Beethoven cycles and one video based upon improvements in recording technology. Thru Rhapsody, I have listened to his mid 50s cycle and the orchestra sounds great, but the recording quality is sub par compared to Analog's golden age. So the rational for 4 cycles would be, (1) recent great improvements in recording technology (early 60s), (2) it has been 15 years and he has grown as an artist (late 70s), (3) we now have digital! Let's do one of the first Beethoven digital cycles (80s).

Klemperer is a no-brainer. I do not have to think twice about plopping one of his lps onto my turntable or hitting the play button at Rhapsody. When the music starts, the listening pleasure begins. Don't miss his Bruckner symphony recordings!

An essential collection.......2007-04-25

How best to describe Otto Klemperer's perspective on Beethoven's symphonies: grand, heroic, intense, insightful, stubborn, obstinate, detailed, dramatic, monumental, granitic, deeply emotional, never sentimental. This boxed set of the complete symphonies and concerti embodies all of these elements as stands as one of the great achievements of recorded music.

These performances were recorded with the Philharmonia Orchestra at its peak, in the sumptuous acoustics of Kingsway Hall in London and in fine and detailed sound, and mostly in the mid-1950's during one of the brief charmed periods of Klemperer's life. EMI's impresario Walter Legge had made him permanent conductor of the Philharmonia, and when Klemperer embarked on this project in his 70's, he was in relatively good mental and physical health (Klemperer could show symptoms of manic depression and survived many health crises - brain tumor, broken bones, paralysis - which would have stopped most people).

By this time Klemperer had slowed the tempi of the fast movements of the Beethoven symphonies (listen to his early 1950's recordings of the 5th and 6th on Vox to hear by how much). This tendency is more pronounced in these studio recordings than in the live performances which were recorded during that era. The slowness is mostly saved by Klemperer's use of "sprung" rhythms, which keep the slow tempi from feeling laggardly.

Klemperer's earliest recordings in this series - symphonies 3, 5 and 7 - predate stereo and were recorded in excellent monaural sound. He rerecorded all three of these symphonies in stereo, but those recordings were made after he burned himself by falling asleep while smoking in bed. All three performances feature slower tempi than the earlier ones (whether this was the conductor's preference or the result of physical incapacity is open to conjecture). In particular, the rerecorded 7th suffered from lax phrasing, inattentiveness and perverse tempi. That is NOT the version contained in this set: fortunately, EMI had simultaneously recorded the earlier version of the 7th in "experimental" stereo, and it is that earlier version which is released here (and in remarkably good stereo). The versions of the 3rd and 5th are the rerecorded stereo ones.

You will find no finer studio versions of the 2nd, 4th, 6th, 7th or 8th. All are insightful, beautifully detailed and powerful. The 2nd clearly looks forward to the 3rd and not back toward Hayden, the 4th is boisterous and vital, the 6th bucolic and sumptuous (not a quality normally associated with Klemperer), the 7th gains in drama what it loses in swiftness and lightness, and in the 8th in particular we see the conductor's empathy to Beethoven's sense of humor. Klemperer had a deep affinity for the "Eroica", and the rerecorded version here, while slower than the 1955 recording, was dubbed by "High Fidelity"'s Harris Goldsmith (no Klemperer fan, he) as "the best Eroica going slow" and is a monumental masterpiece (the second movement is shattering). The 1st, while leisurely, is a lovingly crafted.

That leaves the 5th and 9th. There is no doubt in my mind that the earlier, mono 5th is superior to the remake in this set. We lose that sense of an inevitable onslaught, especially in the outer movements. And the 9th, while similar in conception to the live versions recorded around the same time (on Testament with the Philharmonia and on Music&Arts with the Concertgebouw), suffers from diffuse sound and occasional lack of focus. I emphasize that these recordings of both symphonies are still head and shoulders above most of the competition; we're talking about different levels of greatness here.

Are there superior Klemperer recordings of these symphonies? Yes; but all are live, and despite the relatively good reprocessed sound, they don't reveal the same level of detail that these studio recordings do. Klemperer was a very different conductor in front of an audience, and there is more vitality and drama in the live versions of the 3rd (Testament, with the Danish Symphony), 6th 7th and 8th (Music&Arts with the Concertgebouw) and the 9th (see above). Music&Arts' set of the complete symphonies, recorded live in Vienna in 1960, is long out of print and had cramped sound with poor detail - a supplement to this set, not a replacement.

As to the piano concerti: they are better than one might expect. Barenboim, although steeped in the Germanic performance tradition, is more naturally aligned with the Furtwangler and Edwin Fischer than with Klemperer. However, the two of them actually work together extremely well and this is a fine, insightful set.

Any complete cycle of Beethoven, symphonies or concerti, will have drawbacks. There will be unevenness in the performances, as there are here. But there are advantages to hearing one musician's perspective on the works, especially when (as here) the performer has depth of understanding, integrity of vision, and a structural understanding of the pieces.

The digital remastering is excellent and the sound barely shows its age. This may not be your only complete set of Beethoven's symphonies, but it should be one of them. And at a price this low, it's a bargain too.

The best value in classical music on CD at the moment..........2007-01-02

What is the best value in classical discs available today ? Who knows, but I defy anyone to beat the EMI compilation of Klemperer' recordings of the complete Beethoven Symphonies, Piano Concertos (with Barenboim), several overtures the Choral Fantasia etc etc. 9 discs for only $44 ( well that was the price I paid). You have got to be kidding... I only had two concerns with buying this. First on the age of the recordings, all more than 40 years old. No worry at all. This is a masterpiece of reconstruction. The sound quality indistinguishable from any modern recording. Secondly , the performances themselves. I had been warned that Klemperer notoriously chose rather slow tempi. Again I needn't have worried. I immediately went to the slow movements of the 2nd piano concerto and the fourth symphony, where many slow tempists have in the past come unstuck. The piano concerto was an absolute revelation. The combination of the youthful Barenboim and the Philharmonia's masterful playing time and gain had me on the edge of my seat. " Yes,go on, well...." Slow it may have been. Boring, never. The same applies in spades to the slow movement of the fourth. Right from the eerie opening, which is yes, very slow indeed, I knew this movement would be a revelation and I can honestly say I have never hear it better played. Follow this with a scherzo bounding in energy and thumping finale and you will never get a better performance of this, one of Beethoven's "lesser" symphonies. And I haven't even got round to the "biggies" yet! The box set looks unattractive and the portrait of Klemperer makes him appear a first class nerd. Pay absolutely no attention to this....

Wonderful Performances.......2006-04-07

I have admittedly not made it through the entire set as of yet, but feel sufficiently blown away by the First Symphony and the Eroica - particularly the second movement of the latter - to weigh in here. With respect to the tempo issue, I must - at least so far - argue in favor of Klemperer's decision to slow things down a bit. I think the effect is, as someone else has observed, a clearer and more visceral experience of Beethoven's composition. It brings out the feeling. The sound comes up a little short on the low end, but it isn't a major distraction. My only problem lies in EMI's inexplicable lack of any discussion of the performances. The notes are bland, dry descriptions of the pieces themselves, with some basic history thrown in. Given the fact that there are probably hundreds of different CDs of Beethoven's symphonies out there, all with similar explanatory notes, it is infuriating that nothing is said about these particular performances. This is in contrast with the EMI Bach set (with Yehudi Menuhin) in which there is a wonderful essay that discusses Menuhin's work in historical context.

Average customer rating:

This is the one to buy!
An easy first choice
The champion of Rachmaninov's music.
Thoughtful but passionate interpretations
Very good

Rachmaninov: Piano Concertos Nos. 1 - 4

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Rachmaninov: The Symphonies
Rachmaninov: 24 Preludes/Piano Sonata No.2
Tchaikovsky: Symphonies no 4, 5, & 6 / Karajan, Berlin PO
Prokofiev: The Five Piano Concertos
Rachmaninoff plays Rachmaninoff

ASIN: B00000427L
Release Date: 1996-02-13

Tracks:

Piano Concerto No. 1 In F Sharp Minor, Op.1: I Vivace
Piano Concerto No. 1 In F Sharp Minor, Op.1: II Andante
Piano Concerto No. 1 In F Sharp Minor, Op.1: III Allegro vivace
Piano Concerto No. 2 in C Minor, Op.18: I Moderato
Piano Concerto No. 2 in C Minor, Op.18: II Adagio sostenuto
Piano Concerto No. 2 in C Minor, Op.18: III Allegro scherzando

Tracks:

Piano Concerto No.3 In D Minor, Op.30: I Allegro ma non tanto
Piano Concerto No.3 In D Minor, Op.30: II Intermezzo: Adagio
Piano Concerto No.3 In D Minor, Op.30: III Finale (Alla breve)
Piano Concerto No.4 In D Minor, Op.40: I Allegro vivace (Alla breve)
Piano Concerto No.4 In D Minor, Op.40: II Largo
Piano Concerto No.4 In D Minor, Op.40: III Allegro vivace

Customer Reviews:

This is the one to buy!.......2007-06-13

A number of years ago, I went to the Classical Record Store in Toronto to acquire a copy of Rachmaninov's Piano Concertos. Like many others, I'd been introduced to Rachmaninov's 3rd Piano Concerto by the movie "Shine". When I asked the resident musicologist for Rach 3, she rolled her eyes. I explained that I wasn't remotely interested in the commercial David Helfgott version. I wanted the definitive version. She smiled knowingly and took me to a shelf. This is the version she handed me. Buy it. You won't be disappointed! Ashkenazy is at the peak of his powers and Previn does a phenomenal job with the London Symphony. It doesn't get any better than this.

An easy first choice.......2006-06-12

If you are looking for a standard stereo recording of the four concertoes, you don't have to look hard to realize that this set would be a nice and easy choice. Ashkenazy's performances of the Rachmaninov concertos are poetic, full of passions and yearnings, and technically excellent. This 2CD set is sold at the price of one full-priced CD, so it should be a good bargain. If you are a newcomer to Rachmaninov, this set is highly recommended. Later on when you have become familiar with these concertos you might also want to check out the renditions by Argerich and Horowitz, both of which contain some of the most spectacular displays of keyboard fireworks. These recordings by Ashkenazy have been reissued many times and the most recent one I believe is the 2 separate disks in the Eloquence series. Sonically the Eloquence reissues were artificially reprocessed in order to create wider dynamics and better sense of immediacy. Get either this one or the other, it doesn't matter which, what matters is that every Rachmaninov lover should have these recordings as basic items in his/her collection.

The champion of Rachmaninov's music........2005-12-25

This is a very good set of Rachmaninov's piano works for a very reasonable price indeed. For those who are unfamiliar with the great russian composer's piano works, from the blazing horns, swelling piano chords and seductive strings opening the first piano concerto you feel right away you're in for a very special musical experience.

Normally, when you know and appreciate what a musician has created throughout his career, there's almost always one piece of work that stands out or that you like more than the others. When it comes to Rachmaninov's piano works, mine would certainly be the Piano Concerto no 3, one of the most beautiful piano works that were ever written, and also the Concerto no 4. There's a certain nostalgia about this latter work, like feelings about a past gone forever, and you can feel this leitmotiv during the whole concerto. Maybe the fact that Rachmaninov wrote this wonderful concerto after having moved permanently to the US and therefore feeling homesick has something to do with it.

As for Mr Ashkenazy, he simply is the best interpreter when it comes to Rachmaninov's piano works. The great Vladimir is temperate rather than romantic, cool and constantly in control: sometimes he seems pouring out rivers of emotions and passion without getting carried away though. He has the musicality and intelligence to understand exactly how these concertos work. He has phenomenal technique, original approach, and his touch is quite fiery at times, gentle and tender at others. He can be poetic and passionate when he needs to.

In Rachmaninov's piano concertos the orchestra plays a vital role, often playing the main theme melodies while the piano accompanies, which is rather unusual. In this regard, the London Symphonic Orchestra and conductor A. Prévin are one of the best. Couple this with Rachmaninov's music and Ashkenazy's interpretation, and you're in for a very special musical treat indeed.

Thoughtful but passionate interpretations.......2005-07-09

After listening to a recording of Rachmaninoff's 2nd concerto and hearing a lot about the 3rd concerto, I jumped at buying this CD because of the low cost for two CDs - I was not disappointed.

For me the highlight by far is the third piano concerto, where Ashkenazy seems to pour out passion without getting carried away. This recording I much prefer to Argerich's recording (passionate, but little restraint and thought put into that performance) and even Horowitz's (although this may be because of it's worse sound quality). The first movement is played slower than most other performances, but is filled with passion and technical mastery. I am starting to learn this concerto and know how difficult it is! I was glad to see that Ashkenazy used the longer, chordal codenza rather than the shorter one used by Horowitz and Argerich (those are the only other recordings I've heard) with I much prefer.

The first and fourth concertos are also fabulously played but for me they don't compare to the third. The second concerto, however, was a little bit of a disappointment for me (not enough for me to give the discs 4 stars, however). Because I have already learned this concerto, I'm probably quicker to find faults with Ashkenazy's playing here. If I could put my finger on what I don't like about it it would be the balance between the piano and orchestra - you can hardly hear the piano at some of the most difficult sections. Still, the orchestra sounds beautiful and so does the piano when you can hear it.

Since listening to this disc Ashkenazy has quickly become one of my favorite pianists - as has Levine as a conductor. I would heartily recommend this CD for anyone, but especially for anyone who ever aspires to play any of these pieces - all four of the are beautiful and these performances are well thought-out and powerful.

Very good.......2005-03-18

These performances are wonderful, and to those who think otherwise, I do not really know another complete set that has performances as good as this. Ashkenazy is, as usual, amazing, and this particular set of the many Ashkenazy/Previn Rachmaninov Concertos sets is often called definitive. The sound quality is pretty good. Highly recommended.
By the way, Vladimir Ashkenazy holds the position of President of the Rachmaninov Society, which makes this set a no brainer.

Mozart: The Great Piano Concertos, Vol. 2

Average customer rating:

Mozart: The Great Piano Concertos, Vol. 2 Alfred Brendel
Marvelous Mozart
Artistic Genius
Almost Perfect
Penguin Guide "Recommended Recording"

Mozart: The Great Piano Concertos, Vol. 2

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
Similar Items:

Mozart: The Great Piano Concertos, Vol. 1
Mozart: Violin Concertos
Mozart: Symphonies Nos. 35-41
Bach - The Complete Brandenburg Concertos / Pearlman, Boston Baroque
Mozart: Symphony Nos.25, 26, 27, 29 & 32

ASIN: B0000041AB
Release Date: 1994-10-11

Tracks:

Piano Concerto No.9 In Flat, KV 271 (Jeunehomme): 1. Allegro
Piano Concerto No.9 In Flat, KV 271 (Jeunehomme): 2. Andantino
Piano Concerto No.9 In Flat, KV 271 (Jeunehomme): 3. Rondeau. Presto
Piano Concerto No.25 In C, KV 503: 1. Allegro maestoso
Piano Concerto No.25 In C, KV 503: 2. Andante
Piano Concerto No.25 In C, KV 503: 3. Allegretto
Piano Concerto No.22 In E Flat, KV 482: 1. Allegro

Tracks:

Piano Concerto No. 22 In E Flat, KV 482: 2. Andante
Piano Concerto No. 22 In E Flat, KV 482: Allegro - Andante cantabile - Tempo I
Piano Concerto No. 15 In B Flat, KV 450: 1. Allegro
Piano Concerto No. 15 In B Flat, KV 450: 2. (Andante)
Piano Concerto No. 15 In B Flat, KV 450: 3. Allegro
Piano Concerto No. 27 In B Flat, KV 595: 1. Allegro
Piano Concerto No. 27 In B Flat, KV 595: 2. Larghetto
Piano Concerto No. 27 In B Flat, KV 595: 3. Allegro

Customer Reviews:

Mozart: The Great Piano Concertos, Vol. 2 Alfred Brendel.......2006-07-10

Nice interpretation of Mozart's piano concerto.

Marvelous Mozart.......2006-06-29

Alfred Brendel's place as an interpreter of the Viennese Classic repertory is by now unassailable, and his recordings of the Mozart Piano Concertos are a prime example of his art. His lean, focused sound can strike a listener as insufficiently sensuous in Romantic repertory, but against the backdrop of an orchestra, it seems a perfect modern equivalent of the eighteenth-century fortepiano, so much so that I don't really miss having an "authentic" instrument. Besides, discarding recordings such as these on the basis of inauthenticity would deny all listeners the chance to experience Brendel's practically infallible sense of style and taste.

Perhaps the real surprise in this collection of five concertos is that Brendel is at his most relaxed and insightful in the E-flat major Concerto, K. 482, which in most critical canons occupies a slightly lower place than the works which come before and after it. Mozart's warm-hearted and colorfully orchestrated (clarinets instead of the usual oboes) piece brings out an equivalent and unexpected playfulness of dynamic and rhythm in the pianist's irresistible reading, with profuse but always appropriate ornamentation in the rondo, and intriguing, stylish original cadenzas for the first and last movements. Incidentally, the same virtues hold for all of Brendel's emendations to Mozart's original notes in these pieces; in this he is decidely superior to Ashkenazy in his Mozart concerto recordings. (The one drawback of this entire set is that the inclusion of five concertos necessitates splitting K. 482 between the first and second CDs.)

It is only by these exalted standards that the performances of K. 271, the dashing "Jeunehomme," pushing the boundaries of standard concerto form with its unexpected piano interjections at the outset, and the Olympian K. 503 come off as slightly stiffer and less attuned to the finest nuance; however, the latter performance was recorded live and astonishes with its digital clarity, the concluding roar of applause being amply justified.

Brendel's collaborators, the Academy of St. Martin-in-the-Fields with Neville Marriner, supply exemplary accompaniments, notwithstanding some slight inaccuracies in the live K. 503 and, more surprisingly, K. 595. One hopes these recordings will be available for a long time to come.

Artistic Genius.......2006-05-31

Mozart is rightly hailed as a musical genius. Some say he was the best that ever was. I personally prefer Bach and baroque organ fugues but this CD is a good argument for the Mozart partisans.

In the first place, the compositions are excellent. Mozart was a genius and it shows. In the second place, the performances preserved here are exquisite. The recordings are clear and vibrant.

It is a first class album all around.

Almost Perfect.......2006-02-19

If you love Mozart you will really enjoy this CD. In my opinion Sir Neville Marriner & the Academy of St. Martin in the Fields performs Mozart better than any other. The only problem I have with this CD is some tracks on the first CD are recorded live. I have never been a big fan of live recordings. An occasional cough is heard on track 4 which makes me cringe. If only they passed out cough drops that evening I would have awarded this CD five stars. Otherwise the music is simply sublime. Robitussin anyone?

Penguin Guide "Recommended Recording".......2006-01-22

With his 27 piano concertos, Mozart developed the form to a new level of artistry and claimed dominion of the new musical genre. The first seven concertos resulted from early composition exercises from his father converting Baroque sonatas to concerto form (most not-so-special). The first truly-original piano concerto No. 5 was composed at age 17 and No.'s 14-27 are all considered mature and monumental with anything in the 20's truly magnificant. Even works as early as No. 9 "Jeunehomme" (composed for a female French student, Mlle. Jeunehomme, perhaps a love interest) reveal an uncharacteristic maturity, depth of beauty and perfection of form for such a young composer. While most of the 27 concertos are sunny and galante, the two minor-key concertos (No. 20 & 24 on Volume I) reveal Mozart's evolution into more personal, dramatic expression - foreshadowing the Romantic era ushered in part by Beethoven. However, by the late 1780's, the fickle Vieneese who were "so done" with his music, leading to Mozart's demise. Late in Mozart's life there appeared to be a "new phase" of introspection and simplicity as seen in the poignant last Concerto #27 (along with his last chamber works). But this was sadly cut short by his early death in 1791.

These readings by Brendel and Marriner are alive with enthusiasm, warmth, and the typical Brendel precision. The balance of the piano and orchestra is perfect and allow the drama to unfold unhindered. Along with Murray Perahia's and Andras Schiff's complete cycles, Brendel's performances of Mozart's piano concertos are considered - on the whole - to be at the top of the list overall. Highlights in Vol. II here must certainly be the simple beauty and chamber-like feel of Concerto No. 9 "Jeunehomme," the sparkling No. 22 (K.482) and the poignant "swansong" concerto, No. 27 (K. 595). Where volume II features these two more subdued concertos of immense tenderness (no timpani or trumpets), Volume I contains the powerfully emotive, crowd-pleasing D-minor and C-minor concertos No. 20, 24 - along with the famous and bubbly C-major concerto. Both volumes are essential listening, but that much might guide your first purchase if you can only get one set.

The six works on these two CD's (along with those of the sister set) are among the most skillfully composed, musically appealing and rightfully popular of Mozart's 27 piano concertos (hence the term, "Great Concertos"). Both sets received the highest Penguin Guide rating (Rosette) and are an official "Recommended Recording." Nice compliment. Additionally, Gramophone says "this set can be recommended without any reservations." The value and sound quality/balance are excellent (as with most all Philips DUO label CD's).

For those who like the sound of a Mozart-era fortepiano and more "period performances," there is a splendid 9-CD "complete" set of Mozart's piano concertos (no.'s 5-27) by Malcolm Bilson and the English Baroque Soloists w/ Sir John Gardiner conducting that is both top-notch music and a super value on DG. Also, if you are building a Mozart collection, many of these Philips' DUO sets are excellent choices and in the top-tier of quality: Great Serenades (Marriner), Piano Quartets (Beaux Arts Trio), Piano Trios (Beaux Art Trio), Violin concertos (Grumiaux), Violin Sonatas (Szeryng/Haebler), and Complete Quintets I, II (Grumiaux et al).

Average customer rating:

beethoven piano concerti
wished it was not a set
Wonderful set!
What is Ashkenazy up to?
Beautiful, but not perfect

Beethoven: The Piano Concertos

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Beethoven: The Violin Sonatas
Mozart: The Piano Concertos
Beethoven: The Piano Sonatas
Chopin: The Piano Works
Beethoven: Complete Piano Sonatas / Daniel Barenboim

ASIN: B0000041K9
Release Date: 1997-06-24

Tracks:

Piano Concerto No. 1 In C Major, Op. 15: I. Allegro con brio
Piano Concerto No. 1 In C Major, Op. 15: II. Largo
Piano Concerto No. 1 In C Major, Op. 15: III. Rondo: Allegro
Six Bagatelles, Op. 126: I. Andante Con Moto, Cantabile E Compiacevole
Six Bagatelles, Op. 126: II. Allegro
Six Bagatelles, Op. 126: III. Andante, Cantabile E Grazioso
Six Bagatelles, Op. 126: IV. Presto
Six Bagatelles, Op. 126: V. Quasi Allegretto
Six Bagatelles, Op. 126: VI. Presto-Andante Amabile E Con Moto
Fur Elise

Tracks:

Piano Concerto No. 3 In C Minor, Op. 37: I. Allegro con brio
Piano Concerto No. 3 In C Minor, Op. 37: II. Largo
Piano Concerto No. 3 In C Minor, Op. 37: III. Rondo: Allegro
Piano Concerto No. 4 In G Major, Op. 58: I. Allegro moderato
Piano Concerto No. 4 In G Major, Op. 58: II. Andante con moto
Piano Concerto No. 4 In G Major, Op. 58: III. Rondo: Vivace

Tracks:

Piano Concerto No. 5 In E Flat Major, Op. 73: I. Allegro
Piano Concerto No. 5 In E Flat Major, Op. 73: II. Adagio un poco mosso
Piano Concerto No. 5 In E Flat Major, Op. 73: III. Rondo: Allegro
Piano Concerto No. 2 In B Flat Major, Op. 19: I. Allegro con brio
II. Adagio: 2. Adagio
Piano Concerto No. 2 In B Flat Major, Op. 19: III. Rondo: Molto allegro

Amazon.com

Each of these performances has its own profile. The orchestra plays incisively in the First Concerto, but Ashkenazy's plush lyricism doesn't make a good match either with the orchestra or with the music, and he makes one weird ritard in the first movement. The Second Concerto is uneventful, rather bland and pleasant. The Third Concerto seems to be the best performance of the lot, with dramatic playing by soloist and orchestra, but it's sabotaged by blurry recorded sound, the only serious problem with sound quality in the entire set. The Fourth Concerto is enlivened, at least intellectually, by Solti's approach, constantly revealing interesting unfamiliar details in the orchestral score. Ashkenazy's detachment makes this a frosty but fascinating experience. The "Emperor" is a good routine performance, nothing special. The Bagatelles aren't much of a bonus, since they're rather dully played. (Why not the "Choral" Fantasy?) There's nothing actively bad about this set, and it's reasonably priced. But Beethoven deserves better, and gets it from many performers, including the fascinating Uchida-Sanderling collaborations. --Leslie Gerber

Customer Reviews:

beethoven piano concerti.......2007-05-07

the article was in good condition and i had a smooth and prompt delivary

wished it was not a set.......2006-10-27

All I can comment right now, is the performance of the Beethoven piano concerto 1 with the Chicago Symphony Orchestra was poor. The playing was stiff, the orchestra was below what they should be. I thought I even heard some off key notes from the band! Disappointed. Maybe I am just so used to how Martha Argerich plays it... However the rest of the discs are fantastic, what a contrast!!!!!!

Wonderful set!.......2005-05-03

Ashkenazy is more sweet in his playing than profound, Solti and the CSO are on fire, and the Decca sound is excellent! Good job!

What is Ashkenazy up to?.......2004-05-16

After purchasing Ashkenazy's complete set of the Mozart concertos, I decided to get this one of the Beethoven concertos. Although some of the reviewers had voiced complaints about this set, I felt that it couldn't be that bad. Indeed, it's not that bad, but its not that good either.

To me, it seems as if Ashkenazy has no sense of style. His approaches to these concertos are more lyrical and romantic rather than classical. Take the first, for example. Ashkenazy treats the piano line as if he were playing Chopin. Solti, on the other hand, seems to feel that louder is better. Thus we have a very bizarre dialogue between piano and orchestra in the C major concerto. The second isn't much better. Although Ashkenazy gives a much better reading, Solti again feels that the CSO must play as forcefully as possible. The concerto is rather bland in the first place and Ashkenazy's approach is nothing special. The third concerto is wonderfully played by both Ashkenazy and the CSO. Ashkenazy treatment of the piano line is more classical while Solti's boisterous approach actually works in this powerful work. However, poor recording conditions (the evident hiss in the background) ruin the largo. The G major concerto is the most interesting in the set. Solti's treatment of the orchestra accompaniment is quite inspired - this is Solti at his most tender. However, Ashkenazy's icy interpretation is detached, it seems as if he and Solti are on two entirely different pages. Although the recording is remarkable in its beauty, Ashkenazy's lack of warmth leaves a chilling cloud over the performance. The fifth is nothing special. Solti is back to being loud and Ashkenazy gives a good, routine performance.

All in all, even at a budget price, this set is not highly recommended.

Beautiful, but not perfect.......2004-02-16

This is a good set of the piano concertos. However, the main problem is in the Fifth (Emperor): the second movement is extremely slow and faltering. This is one of the most beautiful pieces ever composed and the second movement MUST be perfect, as the version of Perahia: astonishing sensible, rhythmic.

Tracks:

Piano Concerto No. In D Major, Op. 17: I Andante -- Allegro assai
Piano Concerto No. In D Major, Op. 17: II Andante sostenuto quasi adagio
Piano Concerto No. In D Major, Op. 17: III Allegro con fuoco
Piano Concerto No. 2 In G Minor, Op. 22: I Andante sostenuto
Piano Concerto No. 2 In G Minor, Op. 22: II Allegro Scherzando
Piano Concerto No. 2 In G Minor, Op. 22: III Presto
Piano Concerto No. 3 In E Flat Major, Op. 29: I Moderato assai - Piu mosso (Allegro maestoso)

Tracks:

Piano Concerto No. 3 In E Flat Major, Op. 29: II Andante
Piano Concerto No. 3 In E Flat Major, Op. 29: III Allegro non troppo
Piano Concerto No. 4 In C Minor, Op. 44: I Allegro moderato
Piano Concerto No. 4 In C Minor, Op. 44: II Allegro vivace
Piano Concerto No. 5 In F Major, Op. 103: I Allegro animato
Piano Concerto No. 5 In F Major, Op. 103: II Andante
Piano Concerto No. 5 In F Major, Op. 103: III Molto allegro

Amazon.com

There is a lot of really enjoyable music here. I remember organizing a performance of the Fifth Piano Concerto (subtitled "The Egyptian") when I was repertoire committee chairman for a local community orchestra. We found it not only very playable for all of us amateurs in the orchestra, but it simply blew the audience away. It's a real find. Both the Second and Fourth concertos have been popular favorites for more than a century, but they seemed to have vanished sight in the past couple of decades. It was our loss, but no more. And the Fifth Piano Concerto, even when played by amateurs, can blow an audience away. At two discs for the price of one, these fine performances offer listeners a great chance to know this charming and vivacious music at little or no risk at all. So why hesitate? --David Hurwitz

Customer Reviews:

five sparkling gems.......2007-02-21

Saint-Saens was the dominant French composer of the second half of the nineteenth century. And yet his works remain under-appreciated. His party piece "Carnival of the Animals" is probably his best known composition. Of his five symphonies, only the last (the "Organ" symphony, which is given the number 3) is well known, and that as a novelty crowd pleaser, rather than in recognition of the masterpiece it is. All five symphonies should be part of the standard repertoire. Of the piano concertos, the best known is the second, with the fourth somewhere behind that. But all five are glittering, assured works, full of imagination, and amongst the most thoroughly realized concertos written. They make full use of all the colours of the large romantic orchestra, and range through the pallette of emotions from exuberance to reflective sadness. This is a fine recording, the notes dropping in clear cascades of gorgeous sound. It should be part of any classical music collection.

Outstanding........2005-11-24

Having listened to other recordings, plus hearing live ones, of Concerto #2 (the most popular) for 15 years, it was nice to hear the entire pentalogy of the Saint-Saens piano concerti.
Pascal Roge may not be as big a name as Martha Argerich or
Vladimir Ashkenazy, but he certainly knows how to play the piano.
There isn't a dull moment in any of them. Roge captures all the youthful exuberance in the musically-straightforward 1st concerto. The 5th concerto (often called "The Egyptian concerto") is definitely the best of the lot. The tonal coloring is exquisite throughout, especially in the 'Nile River' 2nd movement and the boisterous finale. I could listen to it all day. The 3rd and 4th concerti are fine; these are musically less interesting than the other three. The orchestra is equally virtuosic and never oversteps its bounds, under the guidance of Dutoit. Highly recommended.

OK for the money.......2005-04-22

All in all, I think this is a fair value. Dutoit does a great job conducting and the quality of the recording is good. I was disappointed with the soloist's interpretation of concerto no 2 - I felt too much liberty was taken - esp on the opening passages. What should have been one long phrase building in intensity was instead practically broken into shorter phrases and any momentum that might have been gained was lost. I also felt like the third movement was not played at a tempo I would consider 'presto'.

I liked concerto no 1 very much - these concertos should not be ignored even if some critics do not consider Saint Saens a 'heavyweight' composer.

You'll like this set even if you don't like Saint-Saens.......2004-05-06

Unlike some of the other reviewers here, I am one of those who consider Saint-Saens to be a hopeless musical lightweight, a first-rate second-rate composer (as the old saw goes), a musician of prodigious technical talent but lacking any real depth in his music. It isn't any accident that, despite the tremendous popularity of his music during his lifetime, only about 2 dozen (and that is probably being generous) of his many many pieces are performed with any consistency.

Not coincidentally, some of Saint-Saens' pieces that have shown staying power are at least a couple of the piano concerti, and they are impeccably presented here by Roge & Dutoit. All in all, they are pretty musical confections of a decidedly classical strain, certainly not wallowing in the late romanticism that was running rampant at the time they were composed. If you are lukewarm about Saint-Saens, this is a collection that will plead his case for you about as well as anything to be found these days. Also, it is nice and cheap --- that certainly does not detract from its desirability. Enjoy.

Trust us.......2003-03-02

Looking at the other reviews here, I can only nod in complete agreement. Saint-Saëns is an underrated composer and these 5 concertos are joyful, seductive and deserving of a lot more attention than they have received. Saint-Saëns, like Mendelssohn, had the ability to instantly inspire happiness in the listener, this listener anyhow. Yes, the 2nd and 4th occasionally do get an airing, but the "Eqyptian" (the 5th) is every bit their equal and the remaining two concertos certainly have their own merits. The five deserve a double disc outing like this.

The performances here are very, very fine indeed. I have not heard the Collard/Previn versions (which are referred to in another review), although I have several versions of the 2nd and 4th. Charles Dutoit and Pascal Roge do a wonderful job, investing these performances with the affection and conviction they deserve. True, there is more of the virtuoso than the philosopher about Roge's playing, but that is entirely appropriate to Saint-Saëns. This is feel-good music (and music-making) of the very highest callibre.

Returning to these discs is always a pleasure for me and I hope will be for you. If you have even a passing interest in late Romantic piano concertos treat yourself to these.

Saint-Saëns: Piano Concertos 1-5; Wedding Cake Caprice-Valse
Average customer rating:

A very good collection of moving compositions.

Nothing but the Best

Buy it for all the five concerti, just don't expect much from the second concerto

Saint-Saëns: Piano Concertos 1-5; Wedding Cake Caprice-Valse

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Brahms: Piano Concertos Nos. 1 & 2; Haydn Variations; Tragic Overture; Academic Festival Overture

ASIN: B0002XV30Q
Release Date: 2005-02-15

Tracks:

I. Andante - Allegro Assai
II. Andante Sostenuto Quasi Adagio
III. Allegro Con Fucco
I. Andante Sostenuto
II. Allegro Scherzando
III. Presto
I. Allegro Moderato - Andante
II. Allegro Vivace - Andante - Allegro

Tracks:

I. Moderato Assai - Piu Mosso (Allegro Maestoso)
II. Andante
III. Allegro Non Troppo
I. Allegro Animato
II. Andante - Allegretto Tranquillo Quasi Andantino
III. Molto Allegro
Wedding Cake - Caprice-Valse Op.76
Africa Fantaisie Op.89

Customer Reviews:

A very good collection of moving compositions........2007-05-07

We heard the Piano Concerto No. 5 in F on National Public Radio and decided that we must have this piece of music in our CD collection. We selected this CD since the two CDs allowed us to purchase all 5 of Camille Saint-Saens' Piano Concertos. This CD has become one of our favorites and we play it often, discovering more interest in the work of Saint-Saens with each playing.

Camille Saint-Saens' sense of drama, his lyric runs, his ability to evoke mystery, all make this listening experience highly recommended. I am fascinated by the way Saint-Saens creates rich variations of his themes as he takes us from movement to movement. Saint-Saens has the ability to develop ethereal melodies and variations on themes that are hypnotic and mystical. His piano runs are pushed for dramatic effect. The creative and amusing variations of his themes are pleasant and amusing.

This CD is highly recommended. In addition to the 5 Piano Concertos, Saint-Saens' Wedding Cake Caprice and the Africa Fantaisie are included. I found Jean-Phillippe Collard's interpretation to be masterful and rich, capturing the vast complexity and variation that Saint-Saens created in his compositions.

Nothing but the Best.......2007-04-01

To the other reviewer, you are a fool to give these CDs anything less than 5 stars, and you should be banished to hearing Fur Elise permanently until you repent of your ways. As a classical piano composer and teacher, I am definetely spoiled with piano music, it's true. But this is a real gem, TRUE ART, where even a metronome is rendered petty and useless to this, thank you very, very, much. Saint-Saen's 5 Piano Concertos, and David Helfgott's performance of Rachmaninoff's 3rd Piano Concerto IS as good as it gets. This is art with a soul, their is no hidden agenda, no undercurrent to this music. This recording is fine, don't listen to the other reviewer. I would give it 10 stars if I had the option. Much of these 2 CDs is compltely unique in the realm of piano music. The 2nd Mov. of the 5th Concerto is unforgettable, just to name one. Go ahead and get this one, if you don't, you are sinning, right now.

Buy it for all the five concerti, just don't expect much from the second concerto.......2006-06-01

There are two albums of Saint-Saens' complete piano concerti available in the Amazon catalogue. This from EMI classics, and one from Decca. With two extra tracks thrown in (the "Wedding Cake" waltz, Opus 76, and "Africa Fantaisie," opus 89), this is the better bargain. Plus it's cheaper. I highly recommend it for these reasons, especially if your only interest is familiarization with all of Saint-Saens' five piano concertos, as was mine. Whether the Charles Dutoit performance is better, I can't say as I don't own it.

As for the performances in this disc:

My interest in Saint-Saens' piano concertos was fired up when I first heard his 2nd Piano Concerto performed by Cecile Licad. That stupendous performance (yes, I considered that adjective very carefully and find it absolutely appropriate) was also conducted by Andre Previn and accompanied by the London Philharmonic Orchestra (another Brit orchestra). That recording is also available in Amazon catalogue. Do buy it if you are a connoisseur of Saint Saens' second piano concerto. It is a definitive performance, one that am sure even Saint-Saens would approve of VERY enthusiastically. Just listen to the cadenza of the first movement in the Music Sampler and hear for yourselves.

Now back to this album. As noted earlier, it is also conducted by Andre Previn. But what a difference a pianist makes. I refer here to the performance of the second piano concerto. I skip it, actually. Having been spoiled--blissfully, ecstatically--by the Licad stunner, I cannot bear the stultifying interpretation in this one. I just listen to the other piano concertos and enjoy them. These piano concertos are excitingly atmospheric, with the composer's unmistakable mix of boister and mystery. As noted from an Amazon review of the Decca album, a recording of all of Saint Saent's five piano concerti is rare enough. So for that reason and the cheap price, this album is a good buy. I just try not wonder how other pianists, like Licad for instance, would play them. I just enjoy Saint Saent's piano music, The other performances are still very enjoyable, excluding other considerations. After I received this album from my sister as her Amazon gift, I now know that Saint Saen's piano concertos really rock!!! They are for me.

For the price and the extra tracks I'd give this album four stars. But for its dismal second piano concerto (cringe, cringe), three stars.

Prokofiev, Ravel: Piano Concertos, etc / Martha Argerich

Average customer rating:

treasured
Easily one of the finest releases of the Deutsche Grammophon catalog
Miraculous!
The young Argerich--fresh and completely without affectation
Beautiful rendition

Prokofiev, Ravel: Piano Concertos, etc / Martha Argerich

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000001GQQ
Release Date: 1996-05-14

Tracks:

Konzert fur Klavier und Orchester Nr.3 C-dur op.26: 1. Andante - Allegro
Konzert fur Klavier und Orchester Nr.3 C-dur op.26: 2. Thema. Andantino - Variations I. L'istesso Tempo - Var.2.Allegro - Var.3. - Allegro moderato - Var.4.Andantino meditativo - Var.5.Allegro giusto - Thema.L'istesso tempo
Konzert fur Klavier und Orchester Nr.3 C-dur op.26: 3. Allegro ma non troppo
Konzert fur Klavier und Orchester G-dur - In G Major: 1. Allegramente
Konzert fur Klavier und Orchester G-dur - In G Major: 2. Adagio assai
Konzert fur Klavier und Orchester G-dur - In G Major: 3. Presto
Gaspard de la nuit - Trois poemes pour piano d'apres Aloysius Bertrand: 1. Ondine. Lent
Gaspard de la nuit - Trois poemes pour piano d'apres Aloysius Bertrand: 2. Le Gibet. Tres lent
Gaspard de la nuit - Trois poemes pour piano d'apres Aloysius Bertrand: 3. Scarbo, Modere

Amazon.com essential recording

This is the original Prokofiev/Ravel concerto coupling as it appeared on LP; the Prokofiev has also been coupled with the Tchaikovsky First Concerto. I prefer this edition since superb performances of the Ravel are less common. The young (1967) Martha Argerich plays the Prokofiev for maximum brilliance but leavens the Ravel with the composer's ironic lyricism. It's very effective. The bonus is one of the greatest performances of the Ravel piano suite ever recorded, but it leaves me wondering what will happen to the remainder of the original LP. All those solo Ravel pieces should be in the catalog; as Argerich plays them, they offer a primer on what keyboard color is all about. --Leslie Gerber

Customer Reviews:

treasured.......2007-06-05

I won't go at length about this CD's every refinement, but the Adagio assai on ravel's concerto is easily the best I have ever heard. It is possibly the best collaboration between orchestra/conductor and the pianist of any work. Abbado and Argerich just clicked. It's magic. That does not come along often, even with the masters.

Easily one of the finest releases of the Deutsche Grammophon catalog.......2007-05-24

It's criminal that DG waited almost thirty years to reissue these excellent recordings as a compact disc edition. Never mind the middling late Karajan discs or all this overwrought Lang Lang tripe that they're defecating into mass-production these days - this 1967 release is the finest of many stunning collaborations between Argerich and Abbado at the distinguished helm of the BPO.

The first of the two piano concertos on this disc is Prokofiev's third, and it's undoubtedly one of the best of either Argerich's or Abbado's respective careers. The performance ebbs and flows naturally with note-perfect precision and vibrant (but never overstated), colorful dynamics. Argerich has a keen understanding of any composer's more playful sensibilities, which is why her intuition has always been especially keen when interpreting repertoire works that express such wit by the likes of Prokofiev. Cliché as it is, the only complaint that one could direct at this recording is that it's too short - after three thrilling, relatively brief movements, one is left breathless, but wanting even more. If a better performance of this work has been committed to disc, I'm not familiar with it. Argerich's 1998 recording (paired with Dutoit) is good but nowhere close to this, and the Prokofiev/Coppola recording available from Naxos suffers from the age and deterioration of its' source; given such a poor recording, many aspects of that terrific performance are impossible to evaluate.

The recording of the Ravel piano concerto is almost as thrilling as that of the Prokofiev concerto, and for all the same reasons. Both pianist and orchestra tackle the amusing inventions that Ravel invested in this remarkable piece. The three part form of the second movement is especially well navigated, something that can't be said of many other performances of this composition.

The expanded storage capacity of the CD format permits another recording in addition to the two of the original Prokofiev/Ravel LP: Argerich's amazing 1974 performance of Ravel's "Gaspard de la nuit." If any recording presents this composition as the one of the most difficult of the standard repertoire and Argerich as one of the finest pianists of her generation, it's this one. Both technically and expressively, it is almost incomparably superb, only surpassed by Pogorelich's brilliant equivalent. Argerich exhibits a curious insight pertaining to Ravel's unique, macabre adaptation of Bertrand's poem, and her execution of what Ravel called a "caricature of romanticism" does this insight justice. The speed and tonal color produced in her performance of the infamously difficult "Scarbo" movement is almost inhuman, and must be heard to be believed. This recording was originally released on LP along with numerous other excellent Ravel solo piano works such as "Valses nobles et sentimentales" and "Sonatine." Most of those other recordings are available on different DG compilations, and the inclusion of "Gaspard" succeeding the two concertos on this disc feels appropriate.

It should be mentioned that DG might regain some of its' straying audience if the label chose to reissue DVDs of the many excellent live performances and music videos that it released over the course of it's long and storied existence, instead of so many pointless, worthless, pretentious albums by pop star morons-turned-fake classicists like Sting and Elvis Costello. The music videos for this disc's recording of "Gaspard de la nuit" were especially interesting - curious little films that capably presented symbolist iconography related to the source material as well as video footage of Argerich's light-speed fingers. I've seen enough of these videos in poor quality on YouTube to know that a sufficient number of them exist to pad out a DVD that any sighted Argerich fan would be willing to view, and probably pay for.

Like most of the discs in DG's "The Originals" reissue series, the remastering of these recordings is adequate, but hardly exceptional. The original recordings of the concertos were a bit too bright (almost harsh), and the remastered versions fix this while rendering the soft passages a bit too subdued. Overall, this is a fair trade-off. At the cut price, you can't possibly go wrong with this phenomenal release.

Miraculous!.......2007-05-12

The collaboration between Argerich and Abbado is impressive. Argerich is at her best. A must for your classical collection.

The young Argerich--fresh and completely without affectation.......2007-02-25

The few complainers about this famous recording have slipped fra down the list here at Amazon, and what's striking is that the things they hate about Argerich (mannered phrasing, overly aggressive attack, rushing, banging) are the very things we don't get here. Ms. Argerich can display a reckless, hectoring style, but at her best--as here--she's full of imagination, wit, and an uncanny ability to see beneath the surface of the score.

I can only second everyone else's high praise for the Prokofiev and Ravel concertos, which are spellbinding, as well as for her Gaspard de la Nuit, which is staggeringly virtuosic and original. Abbado conducts with gusto and style, if not the greatest nuance, and only the somewhat dated sonics detract (marginally) from a recording that has remained in print for forty years.

Beautiful rendition.......2007-01-03

The piano concertos by Prokofiev and Ravel are played brilliantly and the quality of the recording is all right, though it could be better (which cost this recording a star). A real treat, both Argerich and the orchestra show great timing and dynamics.
Both sound and interpretation of Gaspard de la nuit do not match the recording by Alexandre Tharaud (Ravel: l'oeuvre pur piano). Still I wholeheartedly recommend this album.

Rachmaninoff: Piano Concertos Nos. 2 & 3

Average customer rating:

The definitive recording
my ears don't lie do they?
Classic!
A very special gifted pianist!
Beautiful recording

Rachmaninoff: Piano Concertos Nos. 2 & 3

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Liszt: The Two Piano Concertos; The Piano Sonata
Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Tchaikovsky: 1812 Overture/Capriccio Italien/Beethoven: Wellington's Victory
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116
Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

ASIN: B0000057LA
Release Date: 1991-11-08

Tracks:

Piano Concerto No. 3 In D Minor, Op. 30: Allegro ma non troppo
Piano Concerto No. 3 In D Minor, Op. 30: Intermezzo: Adagio
Piano Concerto No. 3 In D Minor, Op. 30: Finale: Alla breve
Piano Concerto No. 2 In C Minor, Op. 18: Moderato
Piano Concerto No. 2 In C Minor, Op. 18: Adagio sostenuto
Piano Concerto No. 2 In C Minor, Op. 18: Allegro scherzando
Prelude In E-Flat Major, Op.23, No.6
Prelude In C-Sharp Minor, Op.3, No.2

Amazon.com essential recording

Byron Janis' celebrated recordings of these two concertos have never sounded better than in this new remastering by Mercury's Wilma Cozart Fine. Talk about recordings usually focuses on the artists and composers, and rightly so, but there are some people in the industry whose names you should know, producers and engineers whose work is as artistically excellent as the performers they record. During the late 50s and early 60s the Fines, husband and wife, created a catalog of recordings, which, when all is said and done, is probably title for title the finest in existence. There isn't a single one that isn't worth hearing, and some, like this one, belong in every collection. --David Hurwitz

Customer Reviews:

The definitive recording.......2007-07-17

Although this album features two orchestras (LSO and then the Minneapolis Symphony Orchestra) the early 1960s Janis-Dorati partnership produced what is arguably the best single piano & orchestra disk in the catalog and a definitive rendition of these two popular concerti.

While the pace is sometimes stately for the big rolling Rachmaninov themes, the passage work is spritely and the overall effect is one of great energy.

The particular benefit of these early 1960s recording is Wilma Cozart's Mercury Living Presence technique which used a single placement of just three microphones (unlike the modern tendency to "mike" every instrument in the orchestra and then adjust balance concerns in re-mixing). This gives the thrill of being at an actual performance (the "living presence" of the orchestra) but without the coughs and other limitations of a concert recording. Indeed, although the CD is reconstructed from original analog tapes, it's hard to imagine that any recording with the best artist in the world could improve on the sound.

In short, if my house was burning down, I'd run back in for this CD.

my ears don't lie do they?.......2006-05-29

I have no reference to compare this recording with, I only have Rachmaninov's 2nd piano concerto played by Richter which I like very much, but I cannot describe what's so good about it.
I don't have enough interest for piano solo or recitals to be able to tell what exactly makes a good pianist (in general and for me personal)
I'm not even sure what I like or not.

Well maybe I like uncomplicated, straightforward piano playing, with a somewhat light, clear touche the best, I'm not that fond of heavy pedal use.
(I like Kempff's Beethoven Concertos with Ferdinand Leitner very much)

But my taste and understanding for piano solo (violin solo as well) has to be developed yet.
For now I'm choosing "uncomplicated playing" as my personal preference...but with not much confidence about it.

These performances by Janis and Dorati are pretty straightforward and I'm pleased that I made a good choice out of many recordings.

Dorati's orchestral accompaniment is forceful, sometimes pretty manic, he constantly breaths in Janis' neck, which is breathtaking.
The sound of the orchestra/recording is close and direct with lots of presence what helpes to get even more involved in the performance.
The performances I heard never gave that sense of commitment in the music Dorati and Janis give.
True, the recording helps a lot and obviously the "old sonics" too...I mean the sound is absolutely fabulous, but you're aware it is an old recording and it does add that bit of authenticity to it.

In Rachmaninov's 2nd concerto I like Richter/Wislocki better, but probably only because of the 1st movement, which is slower - slower than everyone else, for me Richter/Wislocki's tempo feels more natural than Rachmaninov's own and everyone else's faster readings.
Janis/Dorati's Minneapolis Symphony Orchestra however is better than Wislocki's Warsaw Orchestra.

As you noticed I haven't mentioned Byron Janis' playing at all...that's because I simply cannot say anything relevant about it, I have to learn a lot and listen to many pianists to make a valid comment.

The performance itself, as a whole, by Janis and Dorati is excellent, no doubt about it, there must be something seriously wrong with my ears if I am wrong about this.

Classic!.......2006-02-19

Definitely a "must-have" performance in piano concerto category. One of a great recordings sonically. Mostly clean throughout the disc, I heard just a few cracking noises during high energy sections.

A very special gifted pianist!.......2005-07-06

Byron Janis was one of the most prominent American pianists of his generation, headed by William Kapell, Rosalyn Tureck, Leon Fleisher, John Browning and Lorin Hollander.He possessed tune, technique and temperament, the famous three T required to shine in this difficult activity.
Maybe the favorite repertoire did not fill the future expectations of new audiences after the sixties. The new tendencies of the Sixties shaped new searches: the Russian repertoire had been reassigned to three magnificent pianists from the USSR: Emil Gilels, Sviatoslav Richter and Vladimir Ashkenazy. The impressive number of Piano Festivals all around the world turned out the attention of new audiences, avid to meet the new talents: precisely The Busoni competition allowed to young promises as Marta Argerich to get a place, but also worked out positively for many European artists as Alfred Brendel, Walter Klien, John Lill, John Ogdon, who triumphed in Tchaikovsky Competition.
The special interest for the Russian music, decayed in that decade. Mahler, Shostakovich, Nielsen, ascended in the musical taste and the piano music of Mozart, Beethoven, Brahms and Schubert remained for small audiences in Europe, but not in USA . There was a huge interest for the new compositions, so Bartok, Schoenberg, Messiaen, Copland and even Brahms held the attention, but the orchestral sound prevailed over the Hall Concerts. The European invasion and the new names from the other side of the Atlantic Ocean, shadowed many emerging figures.
That's why the new generation of pianists (with the exception of two true icons in the American pianism as Rosalyn Tureck and Earl Wild) as David Dubal, Gerard Robbins, Paul Jacobs, Raymond Lewenthal, Jerome Rose, Adrian Ruiz and Ursula Oppenheimer decided to play Reinecke, Copland, Busoni, Alkan and Liszt.
In other words the lack of perception of the new musical tendencies, plus the sudden decay of new directors established the difference and the artistic surviving for many gifted pianists, far beyond the personal disgrace of Fleisher.
However this recording will become a true historical reference for the future generations.

Beautiful recording.......2005-04-19

What can I say about this CD that's not already said? I totally agree with all the comments expressed here by all the reviewers.

In all my 50 years, I never knew piano music could be so rich, evocative and inspiring. This is one discovery that came so late but nevertheless so wonderfully fulfilling and satisfying in my enjoyment of music over a lifetime. I can truly say that this music has enriched my life and came at a time when life seems to be coming to a close, at least as I perceived it for myself. Imagine, such music created nearly fifty years ago still sound so fresh and beautiful that it can touch, move and inspire us even now, after all the years! I encourage music lovers everywhere, especially of classical music, to get hold of this CD and listen to it at least once in their lifetime. You may experience the same sense of joy and wonder as I have. Also, as far as possible, try to listen to it on a high-end high-fidelity audio system. This will definitely give a clearer and more detailed insight, `revelation' into the music, making it that so much more enjoyable.

If Byron Janis was a student of Vladmir Horowitz, then I must say that in this instance, the disciple has truly excelled above and beyond that of the master (as chinese sayings go). In comparison to the Horowitz/Reiner/RCA/1951 recording which some described as the definitive and ultimate interpretation of the Rachmaninoff Third, I find that the latter much less emotionally involving and satisfying. In my opinion, many things in the latter - the seemingly `missing' orchestration (overwhelmed by the forceful pianist maybe), the `plonky' and `banging' piano tone in many instances, the relatively `cold' technical rendition, poor mono recording with thin and reedy sounds overall etc - make it inferior by far. The only other worthy contender, which even comes close to this by Byron Janis, is the Martha Argerich/ Kondrasin/Bavarian RSO/Philips/1980 recording.

So don't hesitate, go get the SACD version of this CD now and enjoy....

Average customer rating:

Inspired Beethoven Concertos
Excellent - The Historically Influenced Performance I've been seeking
A Fine Collaboration: Zinman and Bronfman
Zinman, Tonhalle Zurich, & Bronfman=Athletic, Brilliant Beethoven
Outstanding!

Beethoven: Piano Concertos 3 & 4
Beethoven , Zinman , and Zurich Tonhalle Orchestra
Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Beethoven: Triple Concerto; Septet
Beethoven: Piano Concerto No 5
Beethoven: Violin Concerto; Violin Romances
Beethoven: Piano Concertos Nos. 1 & 2
Beethoven: Complete Overtures

ASIN: B000AMPZNU
Release Date: 2005-09-13

Tracks:

I. Allegro Con Brio
II. Largo
III. Rondo: Allegro
I. Allegro Moderato
II. Andante Con Moto
III. Rondo: Vivace

Album Description

Born in Tashkent, Uzbekistan in 1958, Yefim Bronfman emigrated to Israel at the age of 13 and later to the U.S., 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 début 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 United States, Europe and the Far East. 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. Yefim 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. After bringing the Baltimore Symphony to major status, he became musical director of the Aspen Music Festival and then took the helm of Zurich's beloved Tonhalle Orchestra. Zinman's discography of some 100 recordings have won five Grammys and two Grands Prix du Disque. Founded in 1868, the Zurich Tonhalle Orchestra is Switzerland's oldest symphony orchestra. Today it gives over 90 concerts each season featuring more than 50 different programs with the world's leading conductors and solo artists. David Zinman sees Piano Concerto No. 3 - the only one in a minor key - as a kind of "Eroica" for piano and orchestra. Just as Beethoven opened the door to an entirely new symphonic world with his third symphony, the Eroica, he also broke new ground with his third piano concerto. For Yefim Bronfman, the Fourth is the concerto "with the broadest emotional spectrum, and at the same time possibly the most dramati."

Customer Reviews:

Inspired Beethoven Concertos.......2007-07-16

David Zinman conducting the Tonhalle Orchestra Zurich and pianist Yefim Bronman have collaborated in a series of outstanding performances of the Beethoven piano concertos, especially the third and fourth concertos included on this CD. Zinman has become noted for his period readings of Beethoven while Bronfman has made a reputation as a romantic, highly-charged pianist. But a unity of spirit and music-making pervades this CD. Zinman brings a light, transparent sound to his orchestra which tends towards the stacatto in places and emphasizes the woodwinds. Bronfman plays with sensitivity, lyricism, and finesse. He also brings dazzle to the many virtuosic passages.

With the passage of the years, Beethoven's Third Concerto in C minor opus 37 has become my favorite of the five. It is Beethoven's only minor-key concerto and its performance raises a host of interpretive issues. Some performers and scholars see the third as dating from around 1800 which would put it in the company of the first and second concertos as early Beethoven. Others see the music more expansively and, not surprisingly, date the work from the years 1802-1803 when Beethoven, aware of his impending deafness, radically changed his compositional course. Other interpretive questions about the third include the extent to which Beethoven used Mozart's great C minor concerto, K. 491, as a model for his own.

Zinman and Bronfman bring a lightness to this work which reminds me of early Beethoven while bringing out as well the great advance Beethoven attained in the third from its early predecessors. Zinman's performance of the lengthy orchestral introduction to the work lacks the ponderousness of some other readings and mitigates the difficulties some critics have seen in the symphonic character of the work. And from the moment Bronfman enters with the piano's series of rising scales, the performance is his. The third is the Beethoven concerto in which, from the moment of its entry, the piano is at center stage, and Bronfman makes the most of it. Bronfman plays smoothly with the long passages of filigree and arpeggios enlacing the themes of the movement while bringing out with force the flamboyant large downward runs which are a feature of this movement. The cadenza is full of virtuosity.

The second movement of this work establishes Beethoven's own character at the outset, as it is placed in a remote key of E major, giving an etherial quality to the music. The piano is again fully at center stage with long reflective passages and beautifully lacy passages accompanied by winds and by the cellos. Carl Czerny, Beethoven's pupil, said that this theme "must sound like a holy, distant and celestial Harmony." In Zinman's and Bronfman's hands,it does.

The third movement is a dance-like idiosyncratic rondo which begins in the minor key but moves into C major for a triumphant prestissimo conclusion. There are fugal passages in the episodes and several echoes of the second movement. Bronfman's playing is vigorous.

Beethoven's fourth concerto in G major opus 58 is the favorite Beethoven concerto of many listeners. This work shows that Beethoven's middle style was much more complex and varied that the "heroic" Beethoven of the third and fifth symphonies, the "Emperor" concerto, and the "Waldstein" sonata. Bronfman establishes the tone of the work at the outset with his lucid performance of the piano's opening solo. As someone who struggles with the piano, his performance reminded me of the beauty of quiet, smooth, and lyrical playing. There are some unforgettable passages near the end of the opening movement where Bronfman accompanies the orchestral recollection of the main theme with exquisitely light chords. The second movement involves a duet between soloist and orchestra. Zinman's orchestra plays brusquely and with a marked stacatto touch which is an ideal foil for Bronfman's pleading solos. The finale is brisk and flowing with lovely interchanges between Bronfman's piano and a solo cello.

At its budget price, this CD is difficult to resist. This CD offers a classic performance of two great Beethoven concertos.

Robin Friedman

Excellent - The Historically Influenced Performance I've been seeking.......2007-01-27

Zinman showed the understanding he brings to Beethoven, including being influenced by the musicological research of period-instruments leaders, with his symphony cycle.

Now, we're starting to get the same excellence on the piano concerto cycle. Quick, precise tempos combine with voluminous phrasing to give us wonderful music.

Bronfman has renown already and seems to work well with Zinman; and, he's not known as an overly romanticising pianist. (That said, I wonder how Stephen Hough would have paired with Zinman.)

Anyway, this is what I've been looking for. Buy it.

Only regret? The whole cycle isn't out yet as a boxed set! C'mon, we're waiting!

A Fine Collaboration: Zinman and Bronfman.......2006-02-05

David Zinman has clearly made the Zurich Tonhalle Orchestra his own since he became music director. The orchestra has become a finely tuned, golden hued, thoroughly vital ensemble and the fact that this pairing has resulted in perhaps the most popularly selling set of the complete Beethoven symphonies speaks volumes. Of course, the added bonus is the fine recording techniques of Arte Nova Classics AND the very affordable price of their releases!

Yefim Bronfman continues to mature into one of our finest pianists before the audience today. Though his proclivity for the 20th century masters (Bartok, Prokofiev, etc) has been well established, his probing and facile accounts of the Beethoven concerti are as profoundly romantic as they come. On this particular CD he essays both the Beethoven 3rd and 4th piano concerti with a firm grasp of the fine architecture of each piece, a phenomenal technique, and a sensitivity to the interplay with the orchestra. David Zinman's thinking is in the same vein and the response he draws from the Zurich Tonhalle Orchestra is vital and balanced and matches Bronfman's phrasing perfectly.

For a truly fine recording of these concert hall favorites this superb (and very inexpensive!) belongs in everyone's library. Highly recommended. Grady Harp, February 06

Zinman, Tonhalle Zurich, & Bronfman=Athletic, Brilliant Beethoven.......2005-11-02

Okay, so let's get right to the bottom line: Get this CD right away. No matter who else already sits on your fav shelf for this music, you will find it quite easy to add this new recording of the Beethoven 3rd & 4th piano concertos. Cheap price, too. But nothing cheap, nothing cheap at all about either the recorded sound, or the quality of these performances.

If you have heard - and liked - the approach that Zinman & Tonhalle took to their prize-winning set of the complete Beethoven Symphonies (which deservedly earned the German record critics prize, and is also at budget prices on Arte Nova) - you can settle into your home system, or mp3 player, or car stereo for lots more of that same, Beethovenish vitality.

To recap.

Zinman & Tonhalle have been influenced by all the paths opened up in the period instrument performances of baroque and classical music over the past five or six decades; without really having to play on gut strings and period instruments. So what's left? Well, somehow Zinman & Tonhalle manage their Beethoven with clarity, wit, punchy phrasing, and the wide open humanism that are the hallmarks of Beethoven's musical personality. There is not one ounce of romanticized fat in any of these Zinman-Tonhalle versions of the symphonies, and that is all to the good, since Beethoven is not at all confined to what the nineteenth century made out of him and made out of his music. In addition to the clarity, the tonal transparency that period peformance suggests, Zinman-Tonhalle also give us the rough-hewn punning, the startlingly clear and high musical intellect, and the energy that fairly bursts from Beethoven's unprecedented approach to both harmony and rhythm. Listening to Beethoven played this way, you easily credit his supposed reputation as the finest improviser of his era.

Into this notable Beethoven mix comes pianist Yefim Bronfman. He certainly has his chops. More to the point, Bronfman and Zinman-Tonhalle are worthy and alert partners throughout. Conductor & pianist see eye to eye, without losing their own insights and musical commitments. Put Tonhalle, Zinman & Bronfman together in Beethoven, and you get alchemy that is way more than the simple sum of the parts. The 3rd concerto may have been an improvement on the first and second piano concertos, even in the composer's mind; but the 4th reaches even higher and deeper. As a reference point, Bronfman's playing is closer to, say, Wilhelm Kempff or Wilhelm Backhaus or the young Leon Fleischer in this repertoire, than to more highly italicized styles of alleged romantic piano playing. This Beethoven cannot ever be confused with Chopin or Schumann or Rachmaninoff. That is just as it should be.

If the Tonhalle strings do themselves proud in accompanying, that is not to undervalue or disrespect the amazing contributions of the woodwinds and the brass. Simply everybody showed up for the sessions, and nobody was playing by rote.

All of this Beethovenian energy and sheer joy in living would be nothing if the recording engineers had not done their job, too. The sound is rather close and clear, somewhat in the old Szell-Cleveland manner; without any multi-miked glare and without any fuzz. From top frequency to bottom, the orchestra departments are all present, and nobody is sacrificed to make anybody else's point. The piano is placed just right, as a solo instrument with the rest of the orchestra, and not playing in another room somewhere on its own spot mike with the pianist wearing headphones.

One hopes dearly that this is the beginning of a complete Beethoven piano concerto cycle from Bronfman, Zinman, Tonhalle. One even dreams of Arte Nova being brave enough to redo their old Beethoven sonata cycle with Yefim Bronfman to replace Alfredo Perl. There is not a bit of glassy tone here, no matter how crisply Bronfman plays; and that would serve the piano sonatas very well (if anybody at Arte Nova is listening).

Five stars, then. Now stop reading & click your way to happy, amazed ownership. Yeah. These guys are just that good.

Outstanding!.......2005-11-02

Pianist Bronfman and conductor Zinman team up and deliver an outstanding recording of the Beethoven 3rd and 4th piano concertos. From the very opening measures of piano concerto #3 one realizes that this CD is going to be something special. Not only is the pianist great, but so is the orchestral accompaniment. Of the five piano concertos that Beethoven wrote, only his third was written in a minor key and it is awesome! It ranks along side his 3rd (Eroica) and 5th symphonies as one of his most passionate and outstanding compositions. I love all five of Beethoven's piano concertos, but the third is my favorite. The coupling of concerto #4 is also very fine. Here Beethoven is at his most lyrical, with a beautiful second movement. It is very obvious that both the pianist and orchestra are in sync in every way and relishing every moment. At a bargain price this is one CD that should not be missed!

Track Listings:

Track Listings

track listings

Track Listings

Tell Me [CD-single] [Import]

Bach: St Matthew Passion - Choir of King's College, Cambridge / Stephen Cleobury 3CD

At the Paris Olympia [Import] [Live]

Music: Live at the Villa Venice [Live]

Arctic Snow [CD-single] [Import]

Baduizm

Bloom

Bach: Brandenburg Concertos, Vol.1

A Long Road Home

24 Kilates de Amor

Androgyny, Pt. 2 [CD-single] [Import]

Agony's Lament [Import]

At Her Very Best [Import]

Elgar: Sea Pictures; The Music Makers

Felt Mountain Revamped