Aimard is best-known as an exponent of contemporary music, Harnoncourt as a founding ... more
father of the period instrument movement. To the provocative Beethoven: Piano Concertos Nos 1-5 both bring elements of their contrasting backgrounds--Aimard in the lucidity and transparency of his playing, Harnoncourt by rooting Beethoven within earlier traditions. But such templates don't always apply here, since they also utilise such ultra-Romantic gestures as wide tempo fluctuations (often from one measure to the next), elongated pauses and unexpected accents. Such a diversity of interpretive stances takes getting used to, but the effort's worthwhile as these discs make something fresh and new out of familiar repertory pieces. The first two concertos fare best and the "Emperor" is also striking with its blend of clear textures and heroic gestures that likely surprised the composer's contemporaries with their boldness. In No. 3, lyricism sometimes shades into lingering and the famous dialogue between growling orchestra and poetic piano in No. 4 is tame alongside most versions. The pair generally favour spacious tempos--the opening allegro con brios of the first three concertos don't have much brio and slow movements are slower than the norm, although those fluctuating internal speeds keep total timings within the "normal" range. But then, the goal of these artists is to restore a spirit of adventure and spontaneity to Beethoven and they've certainly succeeded. --Dan Davis, Amazon.com
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Advantages: dynamic and gripping Disadvantages: none
Fantastic to have another additional collection of all five of Beethoven's piano concerti. Spanning his life we can really get to grips with his evolving use of the orchestra in these works. From the Third's action packed finale to the Fourth's beautiful expressions to the grandeur of the much loved Fifth.
The playing is precise, dramatic and full of energy; as indeed it should be.
Aimard's playing is always well crafted and beautifully shaped. This is an insightful disk and has taken the musicians an awful lot of hard work. A must-have for any lover of Beethoven's piano music. If you usually go for his chamber music or string quartets why not branch out and explore Aimard's wonderful take on these concerti? Well worth buying and indeed an inspiration for myself and other pianists alike. ...
Advantages: One of the most Romantic concertos around, full of beautiful melodies and passion Disadvantages: over-recorded
INTRODUCTION
Sergei Vasilyevich Rachmaninov was one of the most promising composers emerging from Russia after Tchaikovsky. His early works included the youthfully energetic PianoConcerto in F sharp minor, Op.1, an orchestral fantasia The Rock, the opera Aleko, several songs, piano pieces (including the famous Prelude in C sharp minor, a work that would plague Rachmaninov with its popularity throughout his life) and the First Symphony in D minor, Op.13. Rachmaninov had high hopes for the latter; it was his magnum opus up until that time. However the symphony proved to be the biggest disappointment of his career, causing a tremendous crisis in his creative life. All the critics jumped on the work, most notably César Cui who compared it with the Seven Plagues of Egypt and condemned the work as modernist trash. The effect ...
Advantages: The Romances; concerto's third movement. Disadvantages: Tempo, pitch and volume quirks in Concerto.
of Masur and Mutter, and notes on Mutter, Masur and the NYPO. Thankfully, unlike her ill-conceived "Four Seasons" CD foldout case, one need not remove the CD booklet here to gain access to the disc itself.)
LUDWIG VAN BEETHOVENConcerto for Violin and Orchestra in D major, op. 61 (49'81)
11. Allegro ma non troppo (27'09)
22. Larghetto (10'58)
3 3. Rondo. Allegro (10'11)
Cadenzas: Fritz Kreisler
4 Romance for Violin and Orchestra No. 1 in G major, (7'11)
op. 40
5 Romance for Violin and Orchestra No. 2 in F major, (8'23)
op. 50
ANNE-SOPHIE MUTTER, violin
New York Philharmonic
KURT MASUR
Live recording
Recorded at Avery Fisher Hall at Lincoln Center for the Performing Arts
5/2002
(P) 2002 Deutsche Grammophon
289 471 349-2 (G)(H)
Digital Stereo ...
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