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Site review by Polly Nomial October 7, 2009
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Performance: Sonics (MC): |
A most satisfying release, if not quite as pulse quickening as Mozart: Symphonies Nos. 38-41 - Mackerras.
Originally planned to be just the 3rd and 4th concertos, the sessions were concluded so quickly that they decided to tape the 5th (or "Emperor") concerto as well and included in this release. As will be well known, Mackerras is a proud convert to HIP practices and these are audibly in evidence (although not as vividly as here: Beethoven: Piano Concertos Nos. 1 & 3 - Brautigam, Parrott). Pizarro in his choice of a Bluthner - instead of the more usual Steinway - produces a tone that is solid and is more in keeping with those instruments used by Brautigam to great effect in his sonata cycle than a modern Steinway would sound.
Easily the finest performance of the set is that of the Emperor concerto; it sounds as though it was put down in one take - to all intents and purposes, live - and has such a winning freshness to the reading that it is hard to find any fault whatsoever. From the opening challenge thrown out by the orchestra, Pizarro responds in kind but is always a poet of the keyboard and never comes across as though he is playing to the gallery. Mackerras and the Scottish Chamber Orchestra then clearly enjoy themselves tremendously in opening exposition of the first movements main melodic ideas. The remainder of the movement is performed as a true meeting of equals and the whole structure is strengthened as a result. The slow movement sounds as though it is played by all concerned as one of the most tender and beautiful love songs of all time and the finale dances away with delight in the listeners ears. A very fine performance indeed and one that deserves to take its place alongside the likes of Perahia.
The 3rd and 4th ccecertos are ever so slightly wanting by comparison. There is nothing wrong with the accounts at all but the spark of fresh inspiration that graced the Emperor concerto is missing. That said, no one would be at all dissointed havining these accounts on disc or indeed seeing such a performance in concert. With a smaller orchestra than used to be traditional in this repertoire, the balance between woodwind and strings treats the score far more favourably and also means that Pizarro doesn't have to play so loudly, making the experience a more intimate adventure.
Tempo choices in the 3rd concerto are a little slower than Brautigams in the outer movements but not markedly so - it is the playing of the orchestra for Brautigam that elevates the whole experience to another plane. In the fourth concerto, the opening chord from Pizarro is presented in a flourish that some might find controversial but it is the only questionable aspect of the whole set to this listeners ears. The playing of the SCO under Mackerras more than make up for this aspect and highlight subtleties of the orchestral parts that are normally not audible. Pizarro also plays with great sensitivity in both works and after the final codas, the sense of joy is inescapable.
The sound from Linn is very fine indeed, with a very natural sounding balance between piano and orchestra in a sympathetic accoustic that allows all the details to come across without recourse to any spotlighting.
A fine release that includes one of the best versions of Beethoven's 5th piano concerto to make it onto disc.
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Copyright © 2009 John Broggio and SA-CD.net
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Site review by Geohominid May 14, 2009
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Performance: Sonics (S/MC): / |
The combination of Sir Charles Mackerras and the Scottish Chamber Orchestra has already produced memorable recordings. Now the young Portuguese pianist Artur Pizarro joins the octagenarian conductor in Beethoven concertos - a little reminiscent of the fruitful collaboration of the younger Barenboim with Klemperer in the same works. Linn's sessions took place at the acoustically agreeable Perth Concert Hall in Scotland from 2nd-5th November 2008. It was originally intended to record only Concertos 3 and 4, but the music went so well that it was agreed that the 5th had to be added. The result is issued in a double-disc Digipak for the price of one disc - including an obligatory Romantic cover painting by Caspar David Friedrich.
Mackerras and the SCO have long since worked out a way of using mostly modern instruments in their historically aware interpretations. Strings play with minimal vibrato, bowing and phrasing is generally shorter, natural (valveless) trumpets are used, horns sometimes play in period fashion without using the valves and kettledrums are hit with hard sticks. Sir Charles generally brings his own parts, meticulously marked up, so that, as he says, everyone can get started immediately. In this case, Pizarro also uses a Blüthner piano, an interesting choice, less assertive in character than a Steinway and thus more suitable for working with a chamber orchestra. The Blüthner also has a faster build-up of tone after key strikes than a Steinway, and is more tonally varied over its range, with a rich and well articulated bass, singing middle range and a bell-like upper treble. These characters are not too far from the tone of some wooden frame period pianos and thus appropriate to this recording.
Beethoven's first sketches for the Third Piano Concerto involved a kettledrum motif which appears in several crucial places in the final version, and the first movement is undoubtedly militaristic in character. Mackerras opens battle in stealth mode, and the natural trumpets and kettledrums later on emphasise more martial references. Pizarro follows the orchestra's lead and plays eloquently but without soloistic mannerisms; indeed one might almost view this interpretation as a symphony with piano obbligato. With convincing clarity, the players bring to prominence Beethoven's contrasts between tense minor key episodes and relaxed lyrical passages in major keys. Beethoven's longer cadenza is used by Pizarro, to great effect.
Pizzaro brings a hushed inwardness to the cantilena of the slow movement, with the SCO's bassoon and other wind players contributing greatly to its peaceful atmosphere. Mustonen (Beethoven: Piano Concerto No. 3 - Mustonen), however, scores points here: he has noted that a few minutes into the movement, the mutes are removed from the cellos and basses while the violas and violins remain muted, and thus he gently reveals a lovely flowing countermelody at this point. Sir Charles' Finale crackles with energy and fine rhythmic pointing, but the military elements are not far away, kettledrums making this point again clearly towards the end.
The Fourth Concerto broke new ground for piano concertos, starting off immediately with the soloist and eschewing the normal double exposition of tutti first, then solo. The exquisitely voiced first G major chord is played gently and unassumedly - except that Pizarro rather draws attention to it by arpeggiating it. Many will shake their heads at such effrontery, as a spread chord is certainly not indicated in any of the editions, including the New Beethoven Edition. However, such a device was one of many in the armoury of C19th pianists. Sir Charles and the orchestra reveal a great deal of lovely instrumental detail in the first movement, warmly lyrical and glittering in equal measure, with filigree finger-work. Beethoven's own cadenza has been used.
The SCO's biting, resinous and vibrato-less strings are waspish in their dramatic opening to the famous slow movement - Furies which are gradually quieted by the soloist, who repeatedly offers balm and tranquillity. Beethoven instructs the pianist to play at the outset on only one string, then two and gradually move to three. This effect is hardly possible on many modern pianos, which mostly use a single felt damper for muting tone, but the Blüthner soft pedal moves the keyboard to the right, giving 'una corda'.
The 4th Concerto's G major rondo is one of Beethoven's happiest creations, alternately exuberant and delicately lyrical, played here with enormous affection and flair by soloist and orchestra; it makes one smile at its cheeky woodwind asides and heady pianistic roulades.
For me, the star performance of this set is that the Fifth Concerto. Everything seems to be right here; the SCO produces a wonderfully refulgent tone without dynamic exaggerations, and the interactions between soloist and accompaniment are thrillingly spontaneous. Mackerras' meticulous internal balancing of the score opens it up and reveals a myriad of fascinating orchestral details, and Pizarro's scrupulous attention to Beethoven's markings prevents an over-romantic approach which so often fogs this masterpiece. And at last we have a pianist who plays the opening arpeggio flourish exactly as written, without the spurious holding on to the first note for effect, which has sadly become a modern playing tradition. Beethoven wrote a headlong rush straight up the piano, and that is what Pizarro gives us. The rhythmic lift given to the main subject by both orchestra and soloist is utterly delightful; the tuttis are vigorous and forceful without being opaque and noisy, and the whole first movement is gripping in its tautly dramatic approach.
One would hardly believe that as Beethoven began to write the brief slow movement, Napoleon's troops invaded Vienna. He ended up crouching terrified in a cellar, calling plaintively for his mother. Yet this seemingly perfectly peaceful movement was finally created. In Mackerras' hands, it moves flowingly with vernal freshness. Pizarro's tender caressing of the high treble melody breathes naturally, without cloying sentimentality, and the hushed modulation at the end from B major to E flat major is magically done. Thereafter, the famous 'kangaroo' tune bounds unceremoniously in, (appropriately enough from an Australian conductor) and is given such a lilting rhythm that it must be a Viennese kangaroo! I have only once before heard a similarly dancing Rondo; it would itself justify Wagner's remark about the finale of Beethoven's 7th Symphony as "the apotheosis of the dance".
From the sheer quality and intensity of the music-making on these discs, I would surmise that they are mainly comprised of long takes. The perfectly judged balance between band and piano makes it one of the most natural and impressive concerto recordings for some time; piano and orchestra are both firmly in the same acoustic, and the depth of audio field given by multichannel gives a clear focus to the SCO, who are playing their socks off.
Great value for two excellent Beethoven concertos, and one exceptionally fine Fifth Concerto, which in my view stands up with the modern great ones. This issue is a fine addition to the much-lauded Mackerras/SCO late Mozart Symphonies.
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Copyright © 2009 John Miller and SA-CD.net
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Review by Michelten May 19, 2009 (4 of 5 found this review helpful)
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Performance: Sonics (MC): |
It is arguably as hard to tell who is your favourite composer as to tell what is your favourite disc; for me, it depends on which day you ask. This one however must definitely be within the top end of my list at any time, and it is because it brings excellence and delight from many fronts. I won’t elaborate much on the composition, still Beethoven’s narrative writing makes this concertos’ melodic lines very engaging and emotional. Overall, Pizarro’s interpretation is formidably clear, with perfect correlation between the story line and his phrasing, dynamic range and accents. The sound of the aliquot-strung Blüthner is simply sublime; few recorded instruments I’ve heard with such combination of brilliance, upper register sonority and silky sound texture. I find the orchestra’s style to be passionate, yet with calmed elegance in a rather period style, with little or no vibrato in the string sections and well defined and placed instrumentation; otherwise with excellence balance between orchestra and piano, this last right on stage with compelling presence.
Five star for the recording (still hoping one day Linn will master in DSD !).
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