Beethoven: Piano Concerto No. 4 (CD review)

Also, Triple Concerto. Michael Roll, piano; Jean-Jacques Kantorow, violin; Raphael Wallfisch, cello. Howard Shelley, Royal Philharmonic Orchestra. Royal Philharmonic Masterworks Audiophile Collection RPM 28700.

Of the several Royal Philharmonic re-releases I've heard from the Allegro Corporation, this one with pianist Michael Roll and conductor Howard Shelley seems to me the best of all. It offers some of the most well-rounded interpretations of Beethoven I've heard, some splendid sound, and a coupling, the Fourth Piano Concerto with the Triple Concerto, I've not found elsewhere. It makes a good package.

The album begins with the Piano Concerto No. 4 in G Major, Op. 58, which Beethoven wrote in 1805-06, around the same time he wrote the Fourth Symphony and parts of the Fifth Symphony. The tempos the performers choose are neither lax nor rushed but just right in a traditional sort of way. Expect no surprises here, no period-instruments practices, just good, old-fashioned music making. Pianist Roll, too, is on his game, combining a virtuosic style with a light, lyrical touch, making this Fourth Concerto a sweetly gentle affair, despite the more-rambunctious parts.

With Roll and Shelley the first movement perhaps misses a little something in terms of ultimate dramatic effect, making up for it with a balmy, mysterious air. Frankly, I find the length of the first movement difficult for any soloist to sustain; nevertheless, Roll holds his own throughout.

The slow movement Andante, scored for piano and strings only, comes off even better, with not even a minor reservation from me. Roll's remarkably poetic manner makes the perfect foil for Beethoven's slightly agitated orchestral accompaniment. Then, we get the big finale--passionate, tempestuous, rhythmic, stormy, graceful, you name it, Beethoven goes for broke, and Roll and Shelly keep up nicely.

Along with the Fourth Concerto we get the Triple Concerto in C Major, Op. 56, dating from around 1804, making an obvious historical connection with the Fourth. Attended by such distinguished artists as violinist Jean-Jacques Kantorow and cellist Raphael Wallfisch, the RPO, Roll, and Shelley make a formidable team. Their reading of the Triple Concerto is refined and exciting, beautiful and energetic. Combining power, charm, and authority, it's an ideal companion piece on the disc.

Because Royal Philharmonic Masterworks and the Allegro Corporation, who have re-released this disc, seem reluctant to disclose any recording dates on their packaging, I had to do some Googling to discover that Tring originally issued the disc in 1997 as a part of their "Royal Philharmonic Collection." What the new release does tell us, however, is that it is a "20 bit digital recording, edited and mastered via 32 bit digital sound processing, recorded in high definition and playable on all CD players."

Anyway, the sound is weighty and warm. It's also moderately close-up, yet not so close that we don't hear at least a modicum of stage depth. Although the piano seems a little too forward in the Fourth Concerto for my liking, it produces a reasonably clear, clean tone. In addition, the dynamic impact could be stronger and the midrange a touch more transparent; however, on the whole the sonics are natural and realistic and highly listenable.

While I like almost everything about this release, I can't say I'm too fond of the cover art. Like their other RPM booklet covers, this one is in black, making the titles hard to read. What's more, it features four white blotches that appear either to be a fireworks display or bullet holes in a windshield. I much prefer cover art I can easily read as well as look at and enjoy.


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John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa