The more dramatic sonatas are muscular yet very light on their feet. You must get an orchestra involved, hence the concertos. Just when everybody seemed to be saying that the mighty nine had been worked to death, along came Christopher Hogwood, Frans Bruggen and that provocateur par excellence Roger Norrington to shake us out of our complacency. Such playing is hardly for lovers of histrionics or inflated rhetoric, but rather for those in search of other deeper, more refreshing attributes, for Beethoven’s inner light and spirit. This one is lithe‚ dynamic and consistently commanding. The American completes his nine-year project to record all 32 sonatas. And what a line-up: three supreme Soviet artists, for whom Czechoslovakia represented a taste of freedom while the West remained out of bounds. As each new generation takes up his vision, Beethoven is carried forward through time. The following minor-key variation shows how both players can bring flexibility and fluidity to their performance, with the confidence that they will be sympathetically accompanied. Attenuated inflections are honoured virtually to the letter, textures carefully differentiated, musical pauses intuitively well-timed and inner voices nearly always transparent.The F major Quartet’s opening Allegretto has an almost Haydnesque wit about it and, although I would have welcomed a more furioso approach to the first movement of the Serioso (Op 95), the sum effect is still impressive. The Sonatas Nos 27 and 31, were recorded in August 1956. When I was doing a Building a Library on Op 109 last year for BBC Radio 3, I was looking for a combination of wonder and fantasy that didn’t tip over into late Romanticism in the first movement, fearsome firepower without edge in the Prestissimo and a Classicism to the theme of the finale’s variations. Robert Levin, the moderator on Paul McNulty’s copy of a 1805 Walter & Sohn instrument equalising dynamics, matches him in essence and aura. And their account of the Kreutzer’s first movement, with its Furtwängler-like broadening at the climax of the coda, unmistakably exposes the music’s portrayal of emotional turmoil. By and large he did. His aim was to ‘develop the work from silence’ and ‘keep the usual frenzied sonorities within bounds’. Contemporary incredulity at the sheer scale and complexity of the fugue caused Beethoven to offer a simpler alternative finale (the last thing he wrote) in which the Takács again play the repeat, which helps balance the ‘alternative’ structure.The Takács evidently appreciate this music both as musical argument and as sound. The Tokyo performances on CD and DVD are self-evidently from the same cycle, though not I suspect from the same performances. The second movement is spot on: as witty and exact a reading as you are likely to hear. Ludwig van Beethoven: Piano Concerto No. Yet not even beside such giants as these as well as Solomon, Kempff and perhaps even Schnabel does Pollini’s achievement pale. Fischer’s approach to the Pastoral is quite different from his approach to the Fourth. However, by judicious omission, brilliant playing and sheer conviction, Faust finds a solution that’s both authentically Beethovenian and violinistically convincing ... Christian Tetzlaff vn Deutsches SymphonieOrchester Berlin / Robin Ticciati. This is the third instalment in François-Frédéric Guy’s traversal of Beethoven and the first to delve into the chamber music. Christopher Headington (July 1993), Chamber Orchestra of Europe / Nikolaus Harnoncourt. Since there isn’t one soloist but three, we could think of this perhaps as a concerto for piano trio. It takes a major pianist standing outside the Viennese tradition to see the volatile and ageing Beethoven subsuming gamesome Classical ironies in Romantic pathos and a feeling of personal travail. One might even relate the reading of that first movement to Giulini's spacious but concentrated reading of the Eroica Symphony with the Los Angeles Symphony Orchestra (DG, 5/79). The lonely piano recitative of the slow movement is a heart-melting moment. Faust bases her cadenzas and lead-ins on those Beethoven wrote for his adaptation of the work as a piano concerto. It does not seek to banish all conventional wisdom about the pieces, but it has asked a lot of questions about them, as interpreters should, and I warm to it not only for the boldness of its answers but for finding so many of the right questions to ask. However, Karajan's 1962 Berlin performance (from the DG set already mentioned) is even quicker and superior in articulation, Norrington plays the Eighth Symphony's third movement as a quick dance and makes excellent sense of crotchet = 126, a marking often regarded as being beyond the pale. As month follows month and more and more live performances appear, our perspective on the purpose of recordings seem to be changing. Sample Osborne’s way with the theme of the finale: it has an outward simplicity from which the variations can grow, yet listen more closely and you’ll detect the endlessly varied colourings and subtle changes of dynamics and phrasing, making the repeats truly developmental. There’s the odd fumble in the Scherzo of No 31; but, if anything, the playing has even greater resolve, both in No 31 and in a songful (but never sentimental) account of No 27. This sets the tone for the performance, Abbado encouraging his players to maximise the expressive quality of each theme, while keeping a firm hand on the unfolding of the larger design. The recording is also very fine, though be sure to gauge the levels correctly by first sampling one of the tuttis. Like me, you may well cherish your beloved sets by Schnabel, Kempff and Brendel (to name but three), but Lewis surely gives you the best of all possible worlds; one devoid of idiosyncrasy yet of a deeply personal musicianship. These composers proved that the act of procrastination is a blessing…. Still, this is a wonderful set, and very much a collectors’ item. 3 in C minor, Op. Then there’s the zany humour of the other scherzi – from Opp 127 and 135 especially – or the indescribable feeling of release after the opening hymn in Op 132’s Adagio. Still, this set comes close and completes one of the best available cycles, possibly the finest in an already rich digital market, more probing than the pristine Emersons or Alban Bergs (live), more refined than the gutsy and persuasive Lindsays, and less consciously stylised than the Juilliards (and always with the historic Busch Quartet as an essential reference) – at no point did I feel the Takács significantly wanting. The qualities that made the previous instalments so compelling are here too: the naturalness with which piano and orchestra meld and converse and, at times, tussle; the airiness of the textures; the subtlety of the details. One small illustration will demonstrate the special character of these performances. I was much looking forward to getting my hands on this CD, having chosen Steven Osborne’s previous Beethoven sonata disc, featuring a dangerous and profound Hammerklavier, as my Critics’ Choice in 2016. From the information provided by ArtHaus it’s impossible to say to what extent the different versions overlap. On his rival L'Oiseau-Lyre disc (3/86), also played with period instruments, Hogwood broadens the slow introduction in the Karajan manner. The brook flows untroubled and the finale is quite lovely, with a wonderfully expansive climax. The third movement is less the melody-heavy lines we expect from the heir of Mozart and more of Beethoven’s rhythmic composition. In December we had Maria Callas’s 1952 Covent Garden Norma superseding her studio efforts; and here is the first night of Otto Klemperer’s legendary 1961 Fidelio, also from the Royal Opera House, to challenge his noted studio set from a year later. Put them together and something magical happens within the tensions they engender. Among other things, he had recorded a famous Beethoven Fifth in 1953 (Decca, 9/87). This one dates from June 2, 1960, at the Prague Spring International Music Festival. That said, a wealth of often obscured orchestral detail emerges without any feeling of being artificially lit (the woodwind exchanges in the opening movements of the First and Second concertos, for example). The tempo is spacious, apt to Gilels's mastery of the music's anisometric lines and huge paragraphs, paragraphs as big as an East Anglian sky. Their insight and wisdom, their humanity and total absorption in Beethoven's art has to my mind never been surpassed and only sporadically matched, even by such modern ensembles as the Vegh and the Lindsay! Rondo (Daniel Barenboim, piano; English Chamber Orchestra; Daniel Barenboim, cond.). These are finely proportioned readings, poised and articulate. Test and see if you know Bach's family and repertoire well enough! And now this – a new Beethoven cycle which manages to combine the shock of the new with an uncanny sense of familiarity. But space, sometimes the critic’s friend, here his enemy, forbids much beyond generalisation when faced with such overall mastery and distinction. The Fantasy is much more than just a handy filler but it’s the Fifth Concerto that is likely to be the real draw. While the 3rd Concerto is good, it is no where near the classical masterpiece that is the Emperor. The visionary, high tessitura violin writing is realised by Heifetz with a technical surety which is indistinguishable, in the final analysis, from his sense of the work as one of Beethoven’s most sublime explorations of that world (in Schiller’s phrase) ‘above the stars where He must dwell’. With them poetry is perhaps more important than drama, but Perlman - certainly poetic in his way, always noting the many key passages marked dolce - confirms the strength of his reading in his superbly sprung account of the finale, the tempo marginally faster than that of any of the others (markedly faster than Chung) but masterfully confident. It’s possible, even probable. Others such as Arrau may speak with a weightier voice but even that great pianist would surely have marvelled at the purity and sheen of Pires’s playing. With the exception of the trumpets, the instruments are all modern, and while phrasing, rhythmic articulation, expression and balance reveal Harnoncourt's rigorous and passionate pursuit of historical truth, the results neither sound nor feel like anything offered under that banner before. 'Kleiber, Erich': certainly. Chailly’s tempo is swift. There are classicising tendencies in Leipzig too. Vänskä’s reading is comparable to these: fiery but not relentless. This is a big, affable, blustery Triple, the soloists completing the sound canvas rather than dominating it, a genuine collaborative effort. How Much Do You Know About One of Your Favorite Composers? The Austrian pianist Artur Schnabel was the first pianist to record all of Ludwig van Beethoven's 32 piano sonatas. Try Allegro molto più tosto presto in the first movement of Op 2 No 2. This is another account to be placed alongside the finest, including Argerich, and for me surpassing Glenn Gould/Bernstein ... Emil Gilels pf Philharmonia Orchestra / Leopold Ludwig. The clarinet phrases (at 1'21"), for instance, dance more than those of Rattle’s BPO. It’s really impossible to say that one is best. When Is a Sold Out Concert Not a Sold Out Concert? You can hear music-making of comparable pedigree at the start of the slow movement of the Ninth Symphony. It also says much for Levit’s maturity that the last five sonatas still sound very much of a piece in terms of the way he thinks. The fact that the classic impulse vies with the Romantic throughout Beethoven’s nine symphonies presents a perennial problem to would-be interpreters. Ludwig van Beethoven: Violin Concerto in D Major, Op. Robert Layton (January 1978). So I am asking you to post your favorite/best recordings of piano concertos that you enjoy. Despite the almost-existence of Concerto No. In November I was humming and hawing over Sir Simon Rattle’s fascinating but fussy Fifth with the VPO (EMI). Of course, there are the occasional portamentos that were in general currency in the 1930s but are unfashionable now, but I can't say that I find them irksome. By contrast, Bavarian Radio’s six-CD set intermingles the symphonies (also mainly recorded live in Tokyo) with six newly commissioned ‘reflections’ on them by living composers. Bronfman’s B flat Concerto (No 2) has the expected composure, the many running passages in the first movement polished if relatively understated. Not only has Helmchen matured in his pianism but he is given wings by an orchestra that shares intimate moments with the piano at one point and twirls with it at the next. It is thought that this work was written for Beethoven’s pupil, Archduke Rudolf of Austria, mostly because the piano part is suitable for a student whereas the string parts would require more skilled players. In fact, Schnabel also held that ‘It is a mistake to imagine that all notes should be played with equal intensity or even be clearly audible. An exemplary composition in the concerto form. Elsewhere Romantics vie with the Classicists, while the temporisers, sailing under various flags of convenience, attempt assorted syntheses of their own. John Ogdon’s account has a splendidly withdrawn feeling at this point and a raptness and tranquillity that I greatly admire. Here is a list of the finest recordings of Beethoven's Piano Concertos 1-5 that I have heard over the decades--with Claudio Arrau's two Phillips sets at the top of my list. Stephen Kovacevich at 75: his best recordings. Thanks to Mariss Jansons’s expert schooling of his superb Bavarian musicians in works which continue to enthral, move and entertain him, the dramatic and expressive elements are derived from within rather than – as is often the case with lesser conductors – imposed from without. His stylistic consistency can make the singling-out of this or that detail irrelevant, yet how could I fail to mention Lewis’s and Belohlávek’s true sense of the Allegro con brio in the First Concerto, in music-making that is vital but never driven? Looking over what has happened in Beethoven performance in the concert-hall and on record over the last two or three years I've had the growing feeling that the same is true of the symphonies. Beethoven’s last piano concerto, the ‘Emperor’, can’t help but go first. At the heart of his performance there’s as calm and searching an account of the slow movement as you’re ever likely to hear. All fields are required. There, we have a sense of impetus and attack (Gilels's sheer pianistic command compensating for a tempo 42 minims a minute below Beethoven's startling and plausible minim = 138) though when we reach the gracious second subject in G, rhythmic motion is not so much suspended as upstaged by the first intimations of the music's surprising capacity for feminine songfulness. Make no mistake, this is playing of the highest order of mastery. Mozart: Piano Concertos Nos.9 & 25(K.271 "Jeunehomme" & K.503) Alfred Brendel, Scottish Chamber Orchestra, Charles Mackerras 0289 470 6162 SACD / 0289 470 2872 CD Beethoven wrote 5 or 6 or 7 concertos, starting with the Piano Concerto No. Yet power and thrust are unassailable, reinforced by lacerating bowing from Isserlis in the development where screws are tightened – in a movement believed to be one of Beethoven’s most notable achievements, no less so for its expectantly prefaced, grandly fantasia-like 44-bar Adagio sostenuto ed espressivo, for Isserlis and Levin an arch, declamatory and lyrical. They are virtuoso readings that demonstrate a blazing intensity of interpretative vision as well as breathtaking manner of execution. By comparison, the excellent studio set by Isabelle Faust and Alexander Melnikov appears more studied. Beethoven ‘Emperor’ Concerto. Taken in isolation, however, the Quartetto Italiano remain eminently satisfying both musically and as recorded sound. Like his revered seniors, Norrington has learnt conducting in the opera house. 58, is perhaps best of all, as Hough establishes a kind of meditative mood. Not only are the singers, by and large, better equipped for their roles, but given the electricity of the occasion the conductor’s interpretation is more vital (often faster tempi) and even more eloquent. Richard Osborne (April, 1992). Introducing our very special Beethoven collectors' edition of Gramophone, 97 years in the making, Rob Cowan listens to Schnabel's legendary recordings of Beethoven's piano sonatas. Norrington is not unduly preoccupied by matters of orchestral size (44 players are listed on the sleeve) or by pitch (the London Classical Players have settled for A = 430). To complicate matters further, two performances on the CD set – the Eroica and the Pastoral – were recorded live in Munich’s Herkulessaal shortly before the Japanese tour. The Larghetto is beautifully done, its effect underlined through the sheer energy and character of the outer movements. These are modern performances which have acquired richness and some of their focus from curiosity about playing styles and sound production of the past. Beethoven was the soloist in the premiere in the infamous 4-hour marathon concert that included Symphonies 4 and 5, the Choral Fantasy, and this concerto. | (Indeed some listeners, particularly those brought up on the Busch or Vegh Quartets, may find the sheer polish of their playing gets in the way, for this can be an encumbrance; late Beethoven is beautified at its peril). Schnabel was almost ideologically committed to extreme tempos; something you might say Beethoven’s music thrives on, always provided the interpreter can bring it off. Pollini’s account is simply staggering, for if there are incidental details which are more tellingly illuminated by other masters, no performance is more perfect than this new version. This is a 6-CD item that you certainly wouldn't regret purchasing--it has a number of other truly great performances, as well--but it IS a rather pricey way to get the one concerto you're after right now. More seriously, he lacks real control of his band. And it was seven years after that, in Reggio Emilia in 2008, that he conducted his first Fidelio. Stravinsky called Beethoven's Grosse Fuge ''that absolutely contemporary work that will be contemporary for ever''. True, for aficionados of eccentricity – even of brilliant eccentricity – from the likes of Gould, Pletnev and Mustonen, Lewis may at times seem overly restrained but the rewards of such civilised, musically responsible and vital playing seem to me infinite. Yet there is a satisfying body to the string sound, too. At times it is a model of lucidity, arguments and textures appearing as the mechanism of a fine Swiss watch must do to a craftsman's glass; yet the reading is also full of subversive beauty, the finely elucidated tonal shifts confirming Charles Rosen's assertion that Beethoven's art, for all its turbulence, is here as sensuous as a Schubert song. In the concerto, Beethoven made his place on the orchestral stage in a way that complemented his own virtuosity. Not since Myra Hess have I heard a more rapt sense of the Fourth Concerto’s ineffable poetry, whether in the unfaltering poise of her opening, her radiant, dancing Vivace finale or, perhaps most of all, in the Andante’s nodal and expressive centre, where she achieves wonders of eloquence and transparency. I don’t know who to pity more: the budding maestro who hears this Beethoven Fifth before attempting to conduct the work himself‚ or the one who doesn’t. 56, “Triple Concerto” – I. Allegro (Joseph Kalichstein, piano; Jaime Laredo, violin; Sharon Robinson, cello; English Chamber Orchestra; Alexander Gibson, cond.). Review of Vol 3: To have arrived so soon at the end of this journey seems almost a pity, for the company has been most engaging, by turns profound and delightful. Under Chailly the Leipzig players never sound less than their eloquent selves ... Bavarian Radio Symphony Orchestra / Mariss Jansons. Even with a never-ending stream of Beethoven piano concerto recordings, whether from established masters (Kempff, Arrau, Gilels, etc) or work in progress (Andsnes and Sudbin), few performances come within distance of Pires’s Classical/Romantic perspective. They offer eminently civilised, thoughtful and aristocratic readings. Seasoned collectors will readily warm to the beautifully recorded piano even if the brass section is placed rather distantly in the empty concert hall ambience. Comparison with Helmchen’s own recording of this concerto from the final round of the 2001 Clara Haskil competition (which he won) is the best proof of how much a close affinity between pianist and conductor matters. Technically the recording is first-rate but, then, you need no sonic-stage trickery in the dungeon scene in a performance which reveals as exactingly as this how Beethoven’s own orchestrations are key. Solomon’s 1952 recording of the Hammerklavier Sonata is one of the greatest of the century. ... Berlin Philharmonic Orchestra / Herbert von Karajan. In 1807, he took the work that was clearly more pianistic than violinistic and rewrote it for piano as Op. The reading is weighty but graceful, with a most beautifully phrased Andante (worthy of a Furtwängler), a bold Minuet and a thrilling finale. Daniel Barenboim has recorded the complete Piano Sonatas of Beethoven twice; the early set for EMI is the one to buy. A guide to Haydn’s piano sonatas; Ronald Brautigam. It was Mendelssohn who set the Gewandhaus Beethoven agenda in the 1840s, aspects of which have never entirely disappeared. 61a. There are numerous Toscanini Fifths in public or private circulation‚ at least four of them dating from the 1930s. Edward Greenfield (September 1981), Isabelle Faust vn Orchestra Mozart / Claudio Abbado. Wednesday, January 6, 2021, 50 of the finest Beethoven recordings available, complete with the original Gramophone reviews and an exclusive playlist. 50 of the finest Beethoven recordings available, complete with the original Gramophone reviews and an exclusive playlist Register now to continue reading Thank you for visiting Gramophone and making use of our archive of more than 50,000 expert reviews, features, awards and blog articles. The sensation of shared listening, between Bronfman and the players and between the players themselves, is at its most acute in the First Concerto’s Largo, which although kept on a fairly tight rein is extremely supple (the woodwinds in particular excel). Never for a moment does she over-reach herself or force her pace and sonority. Who knows: maybe this is roughly what Beethoven originally had in mind? True, there are moments of grandeur but the overall impression is of a poised, at times chamber-like traversal, with sculpted pianism and crisply pointed orchestral support. It’s a reading that still holds its head high today, and just a decade later, in 1968, Kovacevich set down his own recording, rightly acclaimed and something of a calling-card for the young pianist. If you admire Böhm this is a worthy way to remember his special gifts. It is striking that even in the Kreisler cadenza Perlman prefers to keep the feeling of a steady pulse, and the entry into the coda in its total purity and simplicity is even more affecting than the fine accounts in the other three versions. What really fascinates Norrington, though, is rhythm and pulse and their determining agencies: 18th-century performing styles, instrumental articulacy (most notably, bowing methods), and Beethoven's own metronome markings. Ibragimova and Tiberghien don’t attempt anything so extreme but their playing has a powerful sense of progress through the series of modulations, born, I imagine, out of the intensity of live performance. The arrival – introit, rathe r- of the finale's D major subject, Tovey's "Still, Small Voice" after the Fire, is here a moment that is specially cherishable, the more so as the fugue and the subsequent aggressive peroration are played by Gilels with a directness and lucidity which contrasts interestingly with his sophisticated and equivocal treatment of the opening Allegro movement. Here's our list of essential Beethoven recordings. It was Beethoven’s last appearance as a soloist with an orchestra. After the six concertos numbered 0-5, where’s the last one? Klemperer came as close as any conductor to enabling both impulses to inhabit a single style. Sound interests him a good deal. Roger Vignoles, Genz’s regular accompanist, contributes an irresistible bounding energy and even a sense of mischief to one of Beethoven’s most spontaneous yet subtle settings, ‘Neue Liebe, neues Leben’; and an elusive sense of yearning is created as the voice tugs against the piano line in ‘Sehnsucht’ ... Pierre-Laurent Aimard pf Thomas Zehetmair vn Clemens Hagen vc Chamber Orchestra of Europe; Arnold Schoenberg Choir / Nikolaus Harnoncourt. So how does this one stack up? The resemblance here to Karajan’s 1962 Berlin recording is uncanny, doubly so given the quality of playing and direction needed to bring off a reading of such pace, poise and beauty. The D major Symphony is a joy from start to finish, whilst Norrington treats the F major as though it was specially written for him in an electrifying performance which challenges such distinguished versions as the 1952 NBC SO/Toscanini and the 1963 Karajan set made for DG in Berlin. And here you sense that she is among those truly great artists who, in Charles Rosen’s words, appear to do so little and end by doing everything (his focus on Lipatti, Clara Haskil and Solomon). Review of Vol 4: Only an extended essay could do justice to the fourth and final volume of Paul Lewis’s Beethoven sonata cycle. 37 – III. 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