BEETHOVEN Piano Concerto No 5. Choral Fantasy
View record and artist detailsRecord and Artist Details
Composer or Director: Ludwig van Beethoven
Genre:
Orchestral
Label: Sony
Magazine Review Date: AW2014
Media Format: CD or Download
Media Runtime: 56
Mastering:
DDD
Catalogue Number: 88843 05886-2
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 5, 'Emperor' |
Ludwig van Beethoven, Composer
Leif Ove Andsnes, Conductor Ludwig van Beethoven, Composer Mahler Chamber Orchestra |
Fantasia for Piano, Chorus and Orchestra |
Ludwig van Beethoven, Composer
Leif Ove Andsnes, Conductor Ludwig van Beethoven, Composer Mahler Chamber Orchestra Prague Philharmonic Choir |
Author: Harriet Smith
The Fantasy is much more than just a handy filler but it’s the Fifth Concerto that is likely to be the real draw. So how does this one stack up? Andsnes makes his mark in the initial flourish with playing that has the requisite steel but which is tempered with a twinkle. 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. The clarinet phrases (at 1'21"), for instance, dance more than those of Rattle’s BPO. And the Mahler CO’s timpanist adds to the buoyancy of effect but again subtlety is the watchword. In a way Andsnes reminds me of Schnabel in his sureness of touch, albeit in a very different style; Kissin’s point-making and self-conscious massiveness have no place here.
The string introduction to the slow movement is another glorious passage and – praise be – it’s not too slow (though I must confess to a guilty pleasure in Gilels’s rapt reading, ultra-spacious though it is). Andsnes is limpid, apparently simple, in those deliquescent phrases. But one of the most impressive aspects of this reading is the transition from slow movement to finale. So often it bumps: Pollini, Kissin…I could go on. Perahia on the other hand is just right, as is Brendel. And so is Andsnes. It helps that none of these go hell for leather in the last movement, instead imbuing the muscularity of the writing, with its ungainly rhythms, with a healthy dose of gleefulness. The unanimity in the closing bars between Andsnes and his orchestra says it all. Having used up my stash of superlatives, all I can say is: go buy.
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