Beethoven: Piano Concertos Nos. 2 and 3 (CD review)

Martha Argerich, piano; Claudio Abbado, Mahler Chamber Orchestra. DG B0003398-02.

Listening to Martha Argerich play anything is a joy. She possesses the ability to communicate the most ethereal and the most grandiose passages with equal authority. And her fingers must have extra digits in them the way she’s able to command a keyboard.

It’s a little odd, then, that I didn’t find her 2004 recording of the Beethoven Second and Third Piano Concertos with Claudio Abbado and the Mahler Chamber Orchestra quite as appealing as I expected. Not that they aren’t appealing; they are, in fact, excellent. It’s just that maybe I expected too much, or maybe I expected something a little different.

What we get is a performance of the Third Concerto that seems more sedate than I’m used to, more reserved, at least in part. Perhaps this was the effect of having Maestro Abbado leading the orchestra because the seriousness of the approach doesn’t affect Ms. Argerich’s solo passages much. It’s just that when Abbado leads the introduction and bridges, things seem to take on a heavier, more high-voltage tone that I’m not accustomed to hearing from the more-sensitive Ms. Argerich. Compare, for instance, Kovacevich/Davis or Perahia/Haitink and you notice at least a slight difference in mood, a certain lightness and brilliance missing with Argerich/Abbado. On the other hand, you could also say that because the Argerich/Abbado recording is more serious, it is therefore their intent to make it more challenging and more demanding. Nevertheless, Ms. Argerich is as persuasive as ever, and Abbado’s accompaniment is robust, to say the least. Personal preference, as always.

In the Second Concerto, though, we find a more relaxed, more stylish, yet more spontaneous approach than in the Third. The Second was actually Beethoven’s first work in the genre, and it remains among his best. Argerich/Abbado reach down into it more deeply than they do the Third, with more conviction, and with a seemingly greater rapport between soloist and conductor. It is very fine, indeed, one of the best available.

The sound, unfortunately, doesn’t always help the atmosphere of the recordings. Abbado follows his practice of insisting upon live recordings, and while the audience for each piece is very quiet, one can sense that maybe the audio engineers applied a little noise reduction and even toned down the highest treble to keep things quieter and more subdued. Although the sound is remarkably smooth and dynamic, it doesn’t have a lot of natural, lifelike bite, the frequency extremes seemingly clamped down. The orchestra appears fine by itself and Ms. Argerich is fine by herself, but together her piano is too close and big relative to the rest of the players, and they all seem a trifle compressed. Then, the audience erupts into an inevitable burst of applause at the end of each work, which I didn’t care to hear, either. Oh, well.

Regardless of my nitpicks, these are still very elegant, very refined, and exceptionally well played performances. For fans of these two particular Concertos, the Argerich/Abbado recording should make a good alternative to what they already own. Especially the Second.

To listen to a brief excerpt from this album, click here:


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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