- CD de audio (4 de septiembre de 2007)
- Número de discos: 1
- Formato: Audiolibro, CD, Recopilación, Importación
- Sello: Deutsche Grammophon Classics
- ASIN: B000RP4LEO
- Valoración media de los clientes: 3.0 de un máximo de 5 estrellas Ver todas las opiniones (1 opinión de cliente)
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Beethoven: Piano Concerto No. 5; Piano Sonata No.28 in A, Op.101 Audiolibro, CD, Recopilación, Importación
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BEETHOVEN: Piano Concerto No.5 in E flat Op.73 - 'Emperor'
Piano Sonata No.28 in A, Op.101
Staatskapelle Dresden / Vladimir Jurowski
Un álbum consagrado a la figura de Beethoven. La gran pianista Grimaud es dirigida por el joven director Jurowski. Una versión llena de frescura y momentos delicados y líricos.
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El Emperador decepciona tras su magnífico cuarto concierto en Warner pues, aunque hay majestad y grandiosidad, falta ese último grado de compenetración entre solista y orquesta que hace del movimiento lento algo trascendente; no ayuda que el director Jurowski no sea un ejemplo de sutileza y finura. Así pues, nada que ver con las mejores interpretaciones de esta partitura, demasiadas como para hacer un listado completo (pero vea más abajo). Mejor funciona la interpretación de la sonata, tocada afectuosa y expresivamente, aunque algo falta de luminosidad y ejecutada a un tempo demasiado ponderoso.
Otras recomendaciones: Wilhelm Backhaus, Wiener Philharmoniker/Schmidt-Isserstedt (Decca), Barry Douglas, Camerata Ireland/Barry Douglas (Satirino), Firkusny/Pittsburg/Steinberg/EMI Capitol ASIN: B005AAVFG8, Leon Fleisher, Cleveland O/Georg Szell (Sony), Emil Gilels, Philharmonia O/Leopold Ludwig (Testament o EMI), Katchen/LSO/Gamba/Decca, ASIN: B000OPPSWG, Wilhelm Kempff, Berliner Philharmoniker/van Kempen (Deutsche Grammophon), Stephen Kovacevich, London SO/Colin Davis (Philips), Arturo Benedetti Michelangeli, Wiener Symphoniker/Carlo Maria Giulini (Deutsche Grammophon), Maurizio Pollini, Vienna PO/Karl Böhm (Deutsche Grammophon), Hans Richter-Haaser, Philharmonia/István Kertész (EMI), Artur Rubinstein, Boston SO/Erich Leinsdorf (RCA), Rudolf Serkin, New York PO/Leonard Bernstein (Sony)
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Both performances of these masterworks are 'Pieces De Resistance', but of special note to me is Ms Grimaud's stupendous reading of "Emperor"s Allegro movement with soaring, empathetic support from the Staatskapelle Dresden. Then there is the poetic reading of the second and third movements: the Adagio un poco mosso and the elegant and joyous Rondo. I DO "hear thoughts, reflections, and ideas" delivered in what she calls a "contemporary" version of "Emperor". My favorite version of "Emperor" remains that of the legendary Guiomar Novaes and the Bamberg Symphony Orchestra under Jonel Perlea in the 1950s, but this is a most impressive and individualistic reading by Ms Grimaud. That's also certainly true of the four movement Opus 101 where Ms Grimaud unleashes new textures and dynamism in her version, especially in the impressive flow and exposition of movement IV (Geschwind). Decades into her brilliant career, Hélène Grimaud continues to deliver stunning, thoughtful interpretations of the classics, as exemplified by this excellent recording. Kudos to Vladimir Jurowsk and the Staatskapelle Dresden Orchestra. The recording is clear and crisp. My Highest Recommendation. Five IMPRESSIVE Stars!!!
(This review is based on an iTunes digital download.)
Same can be said of 101 - I like this one as much as I like Pollini and infinitely better than John O'Connor. It takes great control and depth of feeling to pull off late Beethoven and she does it. Sound is much better than Pollini.
I guess the thing I like most about these performances is that they aren't cookie cutter, there are slightly different turns of phrases that generally work very well. And these are really powerful performances in both the heat of the moment and when things slow down. She knows when to push and when to pull back. I get the feeling she is challenging herself somewhat on these very difficult pieces, and I admire that she fully rises to the challenge. I like to hear the stress and emotion coming through a performance.
Not particularly relevant but that is why Hamelin leaves me cold. He is a technical machine who churns out difficult pieces seemingly without the slightest effort. I like things a little more thought out and perhaps just a little rough around the edges, with plenty of passion. Like this performance.
The first movement, the Allegro, is full of passion and emotion. The hints of triumphal marches, the force and drive of the work, can only be described as heroic and powerful. Yet this theme is countered with wit and poetry as the movement is reconciled.
The second movement, Adagio un poco mosso, is delicate and warm. The delicacy of the piano compliments the warmth of the horns and violins much like dew on leaves in morning light. The piece is sweet yet graceful and fluid for it never is too sweet. It ascends and then resolves the ascension with warm compassion.
The third movement, the Rondo, is massive. The piano seems to dance with the orchestra as your concentration shifts back and forth between orchestra and piano. The heroic seems to be tamed in this final movement and yet remains full of energy and fire. The third movement also seems to me to be most grounded in a sense of the 18th century with its evocations of waltz and military pomp. The piano is allowed to play the witty commentator upon the regal orchestra to great effect.
Whereas in the first and third movements the piano is a witty commentator upon the force of the orchestra until given reign and shows considerable emotion and passion. The middle passage contrasts beautifully with the first and third in that the piano becomes light,lyric, delicate against the tapestry like warmth of the orchestra.
A fine listening experience.
I now own six versions on CD, and somewhere in boxes are a few more versions on vinyl and tape.
There's a comfort to "definitive" coming from a well respected reviewer, like Penguin or Gramophone.
I found this CD purely by accident and had no intention of buying it, until I listened to the few seconds I could sample on Amazon. But what I heard was enough.
And having the CD has taught me something: something that is "definitive" might be etched in perfection, but it isn't alive any more.
THIS PERFORMANCE IS ALIVE. There is no machine at the piano, but a living artist who is taking a composition and making it her own. I don't just hear Beethoven; I hear Grimaud. I felt like I was hearing this masterpiece for the first time, and it nearly brought me to tears.
The difference between this and perfection is the difference between an adorable freckle faced breathing woman and a marble statue of Venus.
And having found this CD, I don't think I'll ever demand "definitive" again. This is a revelation of how music was meant to be played.
Barely keeping pace with Grimaud is the venerable Staatskapelle Dresden, under the baton of young conductor Vladimir Jurowski, whose most prominent North American role now is as one of the three principal conductors in charge of the Pittsburgh Symphony Orchestra. The orchestra itself is in fine form, with ample rich, warm sound, especially from the winds and strings. However, their playing isn't nearly as inspired as in previous recordings of this concerto with Claudio Arrau and conductor Sir Colin Davis (Philips) and Andras Schiff and Bernard Haitink (Teldec); potential listeners might be well advised to seek out either of these earlier digital recordings, if they wish to hear it perform this work under the batons of two of the greatest conductors of our time. Of course, the sound quality is superb, up to the usual high standards of excellence that long-time fans of Deutsche Grammophon have come to expect. In conclusion, those interested in acquiring one of the best recent recordings of the Beethoven 5th Piano Concerto should be quite satisfied with Grimaud's latest; more discerning audiophiles may find more compelling, older digital recordings from Arrau, Perahia, and Schiff, as well as more recent ones from Brendel, and especially, Aimard (Aimard's recent Warner Classics recording may be the most desirable artistically, since it's part of a Beethoven piano concerto cycle which he recorded in live concert performances with the Chamber Orchestra of Europe under the baton of Nikolaus Harnoncourt.).