Beethoven: Triple Concerto (XRCD review)

David Oistrakh, violin; Mstislav Rostropovich, cello; Sviatoslav Richter, piano; Herbert von Karajan, Berlin Philharmonic Orchestra. Hi-Q HIQXRCD6.

Sometimes, maybe once in a decade, maybe once in a lifetime, a confluence of great solo artists, a great conductor, and a great orchestra produces a genuinely instant classic. Such was the case when violinist David Oistrakh, cellist Mstislav Rostropovich, and pianist Sviatoslav Richter performed Beethoven’s Triple Concerto in 1969 with Maestro Herbert von Karajan and the Berlin Philharmonic. It’s hard to imagine this performance of the Triple Concerto ever being topped, given of the sheer magnitude of the talent involved. What’s more, it continues to be one of the best-recorded versions of the music you’ll find, and this Hi-Q XRCD release remastered and manufactured by JVC makes it just that much better.

Although Beethoven’s Triple Concerto in C major for piano, violin, cello and orchestra, Op. 56 (1804), never impressed critics as much as his violin and piano concertos did, concertgoers have long enjoyed it for its delicious melodies and memorable tunes, especially its soaring first movement and sweet Largo. In an impassioned reading from three of the twentieth-century’s greatest musicians and one of its most-celebrated conductors, the piece couldn’t fail. The music is, as you probably know, actually a kind of orchestrated chamber trio, a sinfonia concertante where the several instruments oppose the orchestra and each other, a style that had passed out of vogue by Beethoven’s time but one into which Beethoven injected new life.

The Berlin Philharmonic sounds, as always, magnificent, and Karajan avoids glamorizing or over-romanticizing the score. When the cello, the violin, and then the piano make their entrance in the first movement, we can see immediately this going to be a gentle, relaxed Triple Concerto, with no want of beauty or expression. The performance is responsive and spacious, yet we can still appreciate the full force of the great orchestra making itself known, reminding us that no matter how easygoing the interpretation may be, it’s still an interpretation on the grandest scale. You’re not going to get this kind of sound from a chamber ensemble or a period-instruments group.

As to the soloists, remarkably, they play as though they had worked together for years. None of the three men attempts to upstage the others, and their instruments complement one another perfectly, almost producing three variations of the same instrument (or four if you count the orchestra, which also blends in flawlessly). Naturally, the cello most often takes the lead, yet Rostropovich never actually dominates; it’s a genuinely shared experience.

The second-movement Largo is as meltingly beautiful as any you’ll hear, big and bold yet brief, hushed, and to the point. The fluidity of the playing seems almost magical. This movement flows seamlessly into the finale, which is as lively, rhythmic, and graceful as you could want. It’s a recording that at the end you want to stand up and applaud, even cheer, it’s that good.

In terms of sound, you would expect it to be good or JVC would not have remastered and manufactured it, EMI would not have licensed it to Resonance Recordings, and Hi-Q would not be distributing it. Although it still won’t satisfy the needs of every audiophile, it does, indeed, sound good. It sounded good in its original EMI form, and it sounds good newly remastered.

EMI producer Peter Andry and audio engineer Allen Stagg made the recording at Jesus-Christus-Kirche, Berlin, in 1969. They captured a wide dynamic range, so wide, in fact, that the opening passage may tempt you to turn up the gain. Don’t. The volume soon rises startlingly, along with some solid transient impact. Instrument separation is excellent, transparency in the somewhat robustly thick midrange is nevertheless quite good, and depth and air are more than adequate.

Obviously, I compared the new  Hi-Q/JVC XRCD24/K2 24-bit super-analog remaster to EMI’s own remastering in their mid-priced “Great Recordings of the Century” series. Switching out the two discs between separate CD players (Sony and Yamaha), matching their volume, and playing them simultaneously for instant comparisons, I found in each instance that the Hi-Q disc sounded a touch warmer and smoother, while also being a bit more crisply detailed, tauter, and better focused. While the differences were not, however, as dramatic as I’ve heard on some other XRCD’s, on good playback equipment the differences are at least a noticeable improvement. Then, too, Hi-Q/JVC package the disc in a slick, attractive Digipak container with bound inner note pages.

The question, of course, is whether the Hi-Q disc is worth its considerably higher asking price. Is it really that much better than the regular EMI release? It is, after all, the very same performance you can buy much cheaper on EMI, and no amount of sonic improvement is going to change that. What’s more, the EMI disc adds the Brahms Double Concerto for good measure, making it an even greater value. No, anyone interested in spending over a dollar per minute on the Hi-Q disc has to own playback equipment worthy of doing it justice and, of course, really has to like the Beethoven piece to begin with. Then, like everything in life, one has to weigh the merits of the product. If you want the very best and are willing (and able) to pay for it, you go for the best. If you are a person of more modest means or with a modest playback system, you may want to stick with the regular EMI product, which is still plenty good.

To hear a brief excerpt from this album, click here:



  1. Hi, I thought it would have ben interesting if you compared the new release to the EMI SACD released last year.

  2. Yes, thank you, Thomas. If the SACD two-channel stereo layer was, indeed, carefully remastered and not just a straight carry-over from EMI's regular stereo release, it would make an interesting comparison. However, since I don't have the SACD, it's a moot question for me at the moment.


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