Beethoven: Triple Concerto (CD review)

Also, Piano Concerto No. 3. Mari Kodama, piano; Kolja Blacher, violin; Johannes Moser, cello; Kent Nagano, Deutsches Symphonie-Orchester Berlin. Berlin Classics 0300331BC.

I’ve been following and admiring Maestro Kent Nagano’s career ever since hearing him conduct the nearby Berkeley Symphony from 1978-2009, during which time he was also the music director of the Opera de Lyon in France, conductor of the Halle Orchestra in England, principal conductor of the Los Angeles Opera in the U.S., and artistic director of the Deutsches Symphonie-Orchester Berlin in Germany. In 2006 he became the music director of the Montreal Symphony Orchestra in Canada and the Bavarian State Opera in Germany. He is, indeed, a world traveler and perhaps a world-beating musician. Here, he conducts the Deutsches Symphonie-Orchester in Beethoven’s Triple Concerto, which features his wife Mari Kodama on piano, with Kolja Blacher, violin, and Johannes Moser, cello.

Ludwig Beethoven (1770-1827) wrote his Triple Concerto in C major for piano, violin, cello and orchestra, Op. 56, in 1804, and it has remained one of the composer’s most popular pieces ever since. Nagano’s performance is fleet-footed yet it never sounds rushed. The work is lighthearted, and Nagano tries to keep it that way. As the booklet note reminds us, it is actually a sinfonia concertante where several instruments oppose the orchestra and each other. It was a style that had passed out of vogue by the time Beethoven wrote it, although he was able to inject new life into an old form. Nagano’s soloists interweave their parts effortlessly, giving the piece a lyrical Schubertian grace.

After the fairly lengthy opening movement, we get a much briefer but exquisitely gentle Largo. Where the piano and violin saw their moment in the first movement, the cello dominates here, and Moser carries it off well.

The Triple Concerto has all the earmarks of an orchestrated chamber trio, and that is how Nagano and his players approach it, with a sublime interaction among the soloists. They combine with the orchestra to explode into a joyous finale, which finds Nagano and company in high, relaxed spirits.

Contrasting with the Triple Concerto, Beethoven’s Piano Concerto No. 3 in C minor, Op. 37, is darker, more serious, and more dramatic. With Nagano and Kodama, the work sounds a touch more melancholy than it usually does but in no way sentimental or excessively Romantic. Indeed, Ms. Kodama makes a most-powerful statement throughout, with playing that sounds assured, delicate, powerful, moving, and heroic by turns.

Recorded at Jesus-Christus-Kirche, Berlin, in 2006 (Piano Concerto No. 3) and 2010 (Triple Concerto), the sound is quite respectable, making an already good pair of performances even better. You’ll find excellent imaging here, with a wide stereo spread, a deep orchestral image, and plenty of air around the instruments. It’s all lightly resonant and natural sounding. Miked at a moderate distance, the midrange displays a reasonable clarity, while being warm and smooth. Bass and treble extension as well as dynamic impact are modest, but the music hardly requires them to be much more. It’s a pleasing, lifelike sound rather than anything overtly “hi-fi” or audiophile in nature.


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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 of The $ensible Sound magazine 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