Beethoven: Piano Concertos 1 & 3 (CD review)

Leif Ove Andsnes, piano; Mahler Chamber Orchestra. Sony Classics 88725420582.

With this 2012 release, Norwegian pianist Leif Ove Andsnes embarks on The Beethoven Journey, as he has titled the album, the first of several that will cover all five of Beethoven’s piano concertos and the Choral Fantasy. Whether he will then go on to do the Triple Concerto and the various sonatas, we’ll have to wait to see. As Andsnes notes in the disc’s accompanying booklet, this is the first time he’s recorded Beethoven at all, and his inspiration to do so was hearing snippets of the concertos playing in an elevator he used regularly. Mr. Andsnes is a fine, thoughtful, clearheaded pianist, and if this initial foray of his into Beethoven as pianist and director of the Mahler Chamber Orchestra is any indication, we can only hope he’ll consider going as far as he can in the repertoire.

As Andsnes also points out in the booklet, there is nothing slight or lightweight about Beethoven’s first couple of piano concertos. In fact, it is only by comparison to the revolutionary ideas in the final few concertos that the early concertos seem of less consequence. Nevertheless, there is much to commend in all five of them.

Beethoven premiered the Piano Concerto No. 1 in C major, Op. 15, in 1798. It is one of my favorite works by the composer, and if it sounds more mature than his Concerto No. 2, it’s because he actually wrote No. 1 some ten years after No. 2. Anyway, here in the Concerto No. 1 we get a big, rhythmic opening movement, a playfully tuneful closing movement, and in between them one of the most tranquil, meditative middle movements a listener could imagine.

I enjoyed the fresh bounce Andsnes maintains in his playing. He certainly takes the first movement briskly, which perhaps diminishes slightly the joy of the music, yet it’s probably more in line with Beethoven’s own Allegro con brio tempo marking than most pianists observe. So, it may be all in what a person has become used to hearing. The playing of both the soloist and the orchestra are friendly and inviting despite the quick pace. Andsnes is able to bring out not only the grandeur in the first movement but the lyricism and turmoil as well.

The Largo is among Beethoven’s most sublime creations, and Andsnes gives it a heartfelt interpretation. Still, the pianist shows no signs of sentimentality, which some listeners will appreciate. Personally, I would rather have heard a little more old-fashioned emotiveness from him, but that’s probably just my age speaking. It’s lovely, really.

The final Rondo, Allegro is rhythmically joyous fun, and Andsnes appears to be having a good time with it. Although it’s maybe not as resilient or melodious as, say, Steven Kovacevich's performance for Philips (still the touchstone in these works), it’s close, and Andsnes’s finger work is astonishing.

The Piano Concerto No. 3 in C minor, Op. 37, premiered in 1803, with Beethoven as usual the soloist. No. 3 is where a lot critics feel Beethoven found his own voice, and we begin to feel less the influence of Mozart and Haydn. Frankly, I find nothing wrong with those influences, but, yes, Beethoven is more creative here than ever before. The work is darker and more complex than Nos. 1 or 2, which in themselves don’t make No. 3 better, just different. The stricter, somewhat harsher moods Beethoven conjures up in No. 3 seem to suit Andsnes better, though, and he turns in a superb reading, both gravely somber and seductively sweet. While Andsnes fills the piece with a remarkable energy, there is always something just a trifle melancholy and lonely about all three movements.  Well done, sir.

Sony recorded the music at Dvorak Hall, Rudolfinum, Prague, Czechoslovakia, in early 2012. The sound is big (from so small an ensemble), yet it hasn’t quite the transparency or naturalness I’ve heard in a few other recordings. Nor is there much in the way of orchestral depth involved, so the sonic impression is one of relative flatness. However, there is a pleasant ambient glow around the instruments, a mild resonance that goes a long way toward compensating for any possible shortcomings. Moreover, there is a wide dynamic range and a strong impact that aid in overall realism.

A minor quibble: I enjoy nice-looking album covers. I enjoy at least glancing at them once in a while as I’m listening to a piece of music. The Andsnes Beethoven cover is as stark and nondescript as one can imagine; it looks as though someone simply typed the album’s title on a white sheet of paper. Since Sony plans to do more releases in this series, I hope they reconsider the artwork.

JJP

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

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.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

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. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa