Beethoven: Piano Concerto No. 2 (CD review)

Also, Grieg: Holberg Suite; Mozart: Divertimento in D major. Martha Argerich, piano; Seiji Ozawa, Mito Chamber Orchestra. Decca 485 0592.

By John J. Puccio

You’ve got a world-class pianist, Martha Argerich. You’ve got a world-class conductor, Seiji Ozawa. You’ve got world-class music, Beethoven’s Second Piano Concerto. And you probably have a world-class ensemble, the Mito Chamber Orchestra, although I wasn’t familiar with them. Whatever, it adds up to a world-class performance.

Beethoven wrote his Piano Concerto No. 2 in B-flat major between 1787 and 1789, and then revised it before its publication in 1801. Beethoven was the soloist at the concerto’s première in 1895, his debut performance, and he hoped both the concerto and the performance would help him make a name for himself. Beethoven would later say that he didn’t consider the First or Second Piano Concertos among his best work, and they do owe a lot to the earlier classical styles of Haydn and Mozart. Still, they have a buoyant charm that audiences find hard to resist, especially the Second Concerto’s playful finale.

I’m happy to say that throughout this album neither Ms. Argerich nor Maestro Ozawa seems to have lost any of their youthful spark. Even though tempos are unhurried, they are never sluggish. Far from it, at moderate speeds their playing is vibrant and joyful. The central Adagio is appropriately serene, contemplative, and hushed, with both the soloist and the orchestra playing most sensitively. In the lighthearted final movement, Ms. Argerich could be twenty again. She hasn’t lost a beat. None of this slowing down with maturity business for her. It’s a delightfully lively rendition of the music.

Martha Argerich
The second work on the program is the brief Allegro movement from Mozart’s Divertimento in D major (1772). Mozart wrote it for string quartet but later transcribed it for string orchestra, which we have here. A booklet note tells us that the recording was a surprise musical gift to Ms. Argerich “when she was bestowed the Order of the Rising Sun by the Emperor of Japan at a concert in Beppu in May 2017.” Ozawa affords it a lithe, comfortable, and affecting reading.

The program concludes with the Holberg Suite by Danish-Norwegian composer and pianist Edvard Grieg; it’s music he wrote in 1884 to commemorate the 200th anniversary of the birth of the playwright Ludvig Holberg. Grieg’s official title for the piece is actually the rather cumbersome From Holberg’s Time: Suite in the Olden Style, which isn’t exactly catchy. It’s a series of movements that Grieg originally wrote for piano but later adapted for string orchestra, which Ozawa and company play. In the work’s five movements, an introduction and four dances, Grieg tried his best to represent the music of Holberg’s era some 150 years earlier. Even if the result is not exactly a Peer Gynt suite, it has its moments, reminding one of a kind of a nineteenth-century Romanticized take on early eighteenth-century music. Ozawa and his players approach it with dignity and refinement, giving the final movement a jolly good turn.

Producer Dominic Fyfe and engineer Jonathan Stokes recorded the music at Art Tower Mito, Mito City Ibaraki, Japan in May 2017 and May 2019. The sound in the Beethoven is classic Decca: clear and well defined, a touch metallic, dynamic, a little close, and somewhat flat. For a comparison, I put on Stephan Kovacivich’s 1974 recording for Philips and found it warmer, better imaged, and more dimensional. Nevertheless, anyone who has listened to and enjoyed Decca recordings over the years will find this one pretty much in the ballpark. The two orchestral pieces--Mozart and Grieg--sounded more natural to me, rounder and sweeter, with only a few instances of hardness or brightness.


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

No comments:

Post a Comment

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 simpleminded, 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 Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. 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 cell phone. 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.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

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

Contact Information

Readers with polite, courteous, helpful letters may send them to

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa