Beethoven: Piano Concertos Nos. 4 & 5 (SACD review)

Hannes Minnaar, piano; Jan Willem de Vriend, The Netherlands Symphony Orchestra. Challenge Classics CC72672.

I wasn't familiar with the Dutch pianist Hannes Minnaar (b. 1984), so I visited his biography Web page, where I found the following information: "Hannes Minnaar received international acclaim after winning prizes at the Queen Elisabeth Competition (3rd prize) and the Geneva International Music Competition (2nd prize). He studied with Jan Wijn at the Amsterdam Conservatory, graduating with the highest distinction and took Master classes with Alfred Brendel, Menahem Pressler and Ferenc Rados. In addition, he studied organ with Jacques van Oortmerssen.

"Minnaar was soloist with various orchestras, including the Royal Concertgebouw Orchestra, during which time he worded with conductors such as Marin Alsop, Herbert Blomstedt, Frans Brüggen, Eliahu Inbal and Edo de Waart. He gives recitals in many European countries and around the world. He performed at the Royal Concertgebouw (Amsterdam), Gewandhaus (Leipzig) and Musashino Hall (Tokyo) and was invited to the festivals of La Roque d'Anthéron, Bordeaux (Jacobins), Bahrein and Guangzhou."

With that in mind, I would add that this release of Beethoven's Piano Concertos 4 and 5 with Maestro Jan Willem de Vriend and The Netherlands Symphony Orchestra would appear to be Mr. Minnaar's fourth recording overall and his first album working with a full symphony orchestra. The results sound generally good, although some idiosyncrasies arise in the performance that may either make the disc a favorite for life or a questionable choice. I found it appealing in several ways, but I'm not entirely sure I'll be returning to it very often.

The program begins with Beethoven's Piano Concerto No. 4 in G, Op. 58, which he wrote between 1805 and 1806 (around the same time he wrote the Fourth Symphony and parts of the Fifth Symphony) premiering it in 1807 with the composer himself as soloist. The opening movement is melodic, with the piano part often sounding improvisatory. Beethoven scored the slow movement for piano and strings, keeping it fairly poetic with a slightly agitated orchestral accompaniment, leading quietly into the finale. Then, we get a passionate, tempestuous, rhythmic, stormy, graceful third movement; you name it, Beethoven goes for broke.

Minnaar's piano playing throughout both concertos is smooth, fluid, virtuosic, and sweetly lyrical. It sounds particularly effective in the opening of the Fourth Concerto, nicely capturing the autumnal glow of the music while still projecting a good deal of spirit and vivacity. Indeed, the solo parts are most attractive in their soaring lines, which manage to convey a poetic beauty along with their sometimes almost explosive tone.

Hannes Minnaar
The controversy might come, however, in the speeds the performers adopt. Minaar and de Vriend appear to take Beethoven at his word in terms of tempo, whether the composer intended his metronome markings be taken literally or not. Nor am I sure whether it was Minnaar's decision to play things as fast as they do or Maestro de Vriend's, but, whatever, the relatively quick tempos can be a bit distracting at times, especially in the slow movements. I compared the timings of both concertos to those of several other recordings I had on hand--Wilhelm Kempff, Rudolf Serkin, Vladimir Ashkenazy, Alfred Brendel, Francois-Frederic Guy, Stephen Kovacevich, Leif Ove Andsnes, and others--and found that in almost every movement Minnaar and his accompaniment were faster. Interestingly, the only recordings that took a faster gait were those of Melvyn Tan and Sir Roger Norrington, who play on period instruments in a historical style and, thus, adhere as strictly as possible to Beethoven's actual tempo markings. I can't say I care overly much for Tan/Norrington's "authentic" approach, either, but at least with a period-instrument presentation we expect the brisker pace. Not so with Minnaar and his modern support; instead, it just sounds a little odd.

Anyway, minor tempo concerns aside, the performance of No. 4 well captures, as I say, the work's mostly gentle mood swings, and it provides enough energy along the way to keep one interested.

Beethoven wrote the Piano Concerto No. 5 in E Flat, Op. 73, "Emperor," in 1809, premiering it in 1811 and dedicating it to the Archduke Rudolf, his patron and student at the time. The piece begins with a big, bravura opening Allegro, the piano entering immediately. In the central Adagio we get one of the Beethoven's loveliest melodies, a brief duet between piano and orchestra. Then, there is a hushed transition into the final Rondo: Allegro, which takes the concerto to a glowing conclusion.

Beethoven intended No. 5 to sound monumental, and Minnaar and company supply some decent fireworks. The Adagio loses a little something in sheer beauty, due to the quick pace, perhaps, but the elegance of Minnaar's playing helps mitigate the situation. Then, things end in an appropriate blaze of notes.

Producer, engineer, editor, and mastering supervisor Bert van der Wolf made the recording for stereo and multichannel playback via hybrid SACD at the Muziekcentrum Enschede, The Netherlands, in May 2014. I listened to the disc's two-channel SACD layer using a Sony SACD player, although a person can, of course, also listen in two-channel from the regular stereo layer with any standard CD player.

The orchestral sound is slightly soft and warm, possibly the result of the mildly reverberant hall used for the recording. The piano appears isolated in front of the ensemble, also sounding just a touch soft and warm. I don't mean this to appear disparaging, by the way; both the orchestra and the piano sound about as they might during a live concert from a moderate distance. Otherwise, detailing is fine, dynamics can be robust, stereo spread is wide, and dimensionality is fairly realistic (with some instruments seeming even farther away than they might sound live).

JJP

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


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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.

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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.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa