The Gramophone Choice

Coupled with Schumann Piano Concerto

Leif Ove Andsnes pf Berlin Philharmonic Orchestra / Mariss Jansons 

EMI 503419-2 (59‘ · DDD) Buy from Amazon

It was the Grieg Concerto that first made the name of Leif Ove Andsnes on disc in 1990 (see reissue below). The interpretation remains broadly the same, except that speeds are now rather brisker. However many times he’s performed the Grieg, Andsnes retains a freshness and expressiveness that always sound spontaneous. That inspirational quality is more markedly perceptible with the new version’s faster tempi, but the expressive flights remain just as broad. In that contrast, he’s firmly supported by Jansons and the Berlin Philharmonic, with playing not just refined but dramatic too in fiercely exciting tuttis. Schumann’s cello ­melodies are gloriously warm, with textures in both works admirably clear, and Andsnes fully responds to Schumann’s espressivo and ritardando requests.

Though both Stephen Kovacevich (Philips) and Murray Perahia (Sony Classical) are equally spontaneous, they tend not to be quite so free in their expressive flights; EMI’s finely balanced digital sound and the playing of the Berlin Philharmonic are also in this version’s favour. ­Andsnes also offers slightly faster basic speeds than his rivals; particularly enjoyable is the free-flowing tempo for the central Andantino grazioso of the Schumann, which you’d never mistake for a simple Andante.

Additional Recommendations

Coupled with Saint-Saëns Piano Concerto No 2 Schumann Piano Concerto 

Orchestra of Opera North / Howard Shelley pf

Chandos CHAN10509 (79’ · DDD). Buy from Amazon

What a good idea to add to that favourite among LP couplings Saint-Saëns’s most Bachian concerto, No 2. And the pleasure doesn’t stop there. Howard Shelley is one of those musicians who quietly goes about his pianistic (and now conductorly) business without grabbing the limelight except for the odd award, but who is consistently impressive, unfailingly musical and only goes into the studio when he has something to say about a work. That is certainly the case here. 

It’s a particular delight to hear a reading of the Schumann as fleet and joyous as this one. These are intimate performances, an effect no doubt enhanced by the fact that Shelley directs from the piano. Intimate but also sharply characterised. And when virtuosity is required, Shelley provides it in spades. Take the finale of the Schumann: textures are wonderfully transparent, the dotted rhythms are perky and precise, and there are plenty of striking colours from the orchestra (which throughout the disc proves itself a fine ensemble, with some particularly outstanding wind-players).

Shelley is just as persuasive in the Grieg, coaxing from the orchestra a real sense of narrative, some lovely oboe-playing and allowing the big tunes due space but never over-indulging them. The concerto’s irresistible yearning quality is well caught too, particularly in the central movement, where he is almost a match for Lipatti. Again, tempi are generally fleet, and Shelley pays attention both to the marcato marking of the finale and its folk tinges without overstatement. These are certainly performances to put alongside the classics.

Technically, the Saint-Saëns is an ideal vehicle for Shelley’s fingery kind of pianism and he is exceptional in the Allegro scherzando, the movement that out-Mendelssohns Mendelssohn. Again, the orchestra is utterly focused. The recorded quality here, as elsewhere, is exemplary.

Coupled with Schumann Piano Concerto

Murray Perahia pf Bavarian Radio Symphony Orchestra / Sir Colin Davis

Sony Classical 82796 92736-2 (60‘ · DDD). Recorded live 1987 & 1988. Buy from Amazon

Despite the hazards, Murray Perahia delights in the inspirational heat-of-the-moment of a live recording. Though there are no claps, coughs or shuffles betraying the presence of an audience, we’re told both concertos were recorded live at Munich’s Philharmonie Gasteig. Of the two works, the Grieg is better served by the immediacy and warmth of Perahia’s response, whether through rhythmic bite in livelier dance tempo or total surrender to lyrical nostalgia elsewhere. Never is there the slightest sacrifice of artistic sensitivity or keyboard finesse. 

His Schumann is no less ardent. In the spirited finale, as throughout the Grieg, any collector would be as happy with this performance as that of Kovacevich for Philips. But in the first two movements, it’s Kovacevich who finds a simpler, more confiding note – as well as more artfully weaving the piano into the comparatively light texture as if it were part of the orchestra instead of a spotlit outsider. Davis goes all the way in both works to uphold Perahia in his open-hearted point-making, and the Bavarian Radio Symphony Orchestra gives him all he asks. The sound is more clear-cut than the old Philips.

Piano Concerto*

Coupled with Lyric Pieces – Butterfly, Op 43 No 1; To Spring, Op 43 No 6; Norwegian March, Op 54 No 2; Wedding Day at Troldhaugen, Op 65 No 6; Remembrances, Op 71 No 7. Ballade, Op 24. Humoreske, Op 6 No 2. The Bridal Procession Passes, Op 19 No 2. Piano Sonata, Op 7 – Alla menuetto; Finale 

Sigurd Slåttebrekk, Edvard Grieg pfs *Oslo Philharmonic Orchestra / Michail Jurowski 

Simax PSC1299 (108’ · ADD/DDD). Disc 2 contains Grieg’s recordings of the solo works (except the Ballade) transferred from his 1903 acoustic recordings. Includes a version of ‘Wedding Day at Troldhaugen’ edited between Grieg’s and Slåttebrekk’s recordings, and a transfer of the 1930s reissue of the 1903 ‘To Spring’ Buy from Amazon

Inspired by Edvard Grieg’s own playing, recorded in Paris in 1903, native Norwegian Sigurd Slåttebrekk and his ‘creative director’ Tony Harrison seek to recreate a bygone performance style and tradition. In a detailed and extended essay they lament today’s smoothing-out of those tensions, nuances and intricacies inseparable from yesteryear’s great performances. They seek to emulate rather than imitate such vibrant music-making. Tempi are invariably on the brisk side and Grieg’s own performances, heard very much through a glass darkly, are of a zest, freshness and freedom that themselves are at the heart of Slåttebrekk’s playing. His way with the Piano Concerto is magnificently assured and free of self-serving idiosyncrasy but it is in the Ballade that he achieves his greatest stature and distinction.

All lovers of Grieg’s piano music will know the selections by Eileen Joyce (Testament), Emil Gilels (DG) and Leif Ove Andsnes (EMI). Yet even they hardly equal Slåttebrekk’s expressive intensity and scintillating virtuosity. Here Grieg steps out to produce a work of epic grandeur, and Slåttebrekk’s way with its flashing northern lights and final desolate leave-taking are unforgettable. Played on Grieg’s 1892 Steinway in Troldhaugen, these performances are of a ­moving poetic empathy and musical devotion.

Coupled with Liszt Piano Concerto No 1 Greig Lyric Pieces (selection)

Leif Ove Andsnes pf Bergen PO / Dmitri Kitaenko 

Virgin Classics 391369-2 (78’ · DDD). Buy from Amazon

Andsnes’s earlier recording continues to holds its own at mid-price. A softer-spoken affair than his EMI remake, with poetry and delicacy in perfect equilibrium. 

Coupled with Schumann Piano Concerto

Stephen Kovacevich pf BBC SO / Sir Colin Davis 

Newton Classics 8802019 (60’ · ADD). Buy from Amazon

Kovacevich’s indelibly fresh performance has enchanted for over three decades now. Felicities abound, not least the agile bravura of the first-movement cadenza and captivating skip of the finale. 

Coupled with Schumann Piano Concerto & Chopin Grande Valse Brillante

Dinu Lipatti pf Philharmonia Orchestra / Alceo Galliera

Dutton Epoch CDBP9719 (71’ · ADD). Buy from Amazon

EMI 767163-2 (7h 12’ · ADD). Buy from Amazon

Very special playing from Dinu Lipatti; the poetry and rapt beauty of this famous 1947 performance linger long in the memory. (The EMI is a seven-disc Lipatti retrospective – pure gold, all of it!)

Coupled with Schumann Piano Concerto & Liszt Fantasy on Hungarian Folk-tunes

Solomon pf Philharmonia / Herbert Menges

Testament SBT1231 (75’ · ADD). Buy from Amazon

Recorded late in his career, this performance still captures Solomon’s power and incandescence. This is a wonderful memento of a great pianist.

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