I am sure that readers will understand that, much as I appreciate Beethoven's Triple Concerto (and I have expressed my appreciation often enough), I feel I must draw the line at having to deal in great detail with no less than the three new CD versions which all arrived by the same post (especially only just after reviewing—in May—the versions under Karajan/DG and Masur/EMI comparatively); and many readers will sympathize with my complaint that 37 minutes is poor measure for a CD. So, when my eye lit upon the Dresden version under Kegel, which has the Choral Fantasia as a coupling, I determined to listen to that with a fresh mind and, hopefully, to recommend it—unless, of course, it was obviously inferior to the rest. I am delighted to say that it is not.
What's more, the Fantasia is not only quite long but is well chosen, another less-than-the-greatest Beethoven work which is yet of high interest if only because it is clearly a trial run for the finale of the Ninth Symphony. Nobody would pretend, surely, that the Triple Concerto, for all its charm and the consummate skill with which Beethoven has solved the problem of writing a concerto for three solo players, ranks with the great solo concertos. Yet the Choral Fantasia has its remarkable passages, too; not least on this excellent recording in the commanding playing of the long opening by Jorg-Peter Weigle. The players in the Triple Concerto are also excellent, especially the cellist, while the four soloists in the Fantasia are good singers; and the full chorus and orchestra are both excellent. Kegel keeps things moving well, and I appreciate his good tempo and admirable dance rhythm in the real polacca he makes of Beethoven's finale in the Concerto.
I have reviewed Gibson's performance already in its LP format—and with enthusiasm: but Chandos, though they have demonstrated their recording skills once again, have added nothing by way of a coupling and it is therefore difficult to recommend on economic grounds.
The Denon recording—technically very good—brings together three fine musicians who have had considerable success as soloists in their own right. They make a sensitive team and are well partnered by the Netherlands Chamber Orchestra. Jean-Jacques Kantorow adds a pleasing version of the First Romance (why not both?) but at 43 minutes this is not very competitive—particularly in the face of the interesting Choral Fantasia from Kegel on Capriccio.'