Review of Beethoven: Piano Concertos 1-5 (1974)

The old way of playing Beethoven's piano concertos involved large orchestras, lots of rubato and a promiscuous use of the pedals that caused a kind of musical haze. The actual notes played were often not as important as the general effect produced. Artur Schnabel's Beethoven comes to mind, at this point. He was renowned for his clinkers and he wasn't averse to a gauzy effect if it promoted his musical argument. Schnabel is considered one of the greatest interpreters of Beethoven's piano music but his style could never be adopted today. Yet there is something produced in the listener by Schnabel's best recordings, a kind of musical ecstasy, that cannot be explained or duplicated. This kind of leading the audience on a mystical journey is no longer in favor, and that's a shame.

These recordings, filmed in March and April 1974 for the BBC, occurred at the tail end of the old performance era and the very start of the new. Vladimir Ashkenazy was a graduate of the same Soviet school of piano playing that produced Sviatoslav Richter, Emil Gilels, Lazar Berman and a host of others of that era. There are simularities that unite them, including a broad romanticism, a degree of Lisztian showmanship coupled with periods of introspection, powerful technique that occasionally borders on pounding and an intellectual streak that produces some deeply insightful playing. Ashkenazy was younger than the others, more modern in his playing. He is a transitional figure: less rubato, less use of the pedals, cooler and more detached (some would say dry), less romantic and a harbinger of the clean, crisp style of playing of today. On these recordings we hear all of that and more, for this is the youthful Ashkenazy and his Beethoven is more alive, more passionate than his later recordings. It is grand style Beethoven that is no longer played and for which many of us secretly long, at least occasionally.

All of the concertos are here, with the third, fourth and fifth 'The Emperor' sounding most brilliant and persuasive. The third's middle Largo movement is especially emotional. I found it deeply moving, something not usually associated with Ashkenazy. The first and second concertos are given jaunty performances that entertain rather than enlighten. Accompanying Ashkenazy are Bernard Haitink conducting the splendid London Philharmonic. They are arrayed in the old style: vast numbers spread across the stage like an invasion force. Their playing is exemplary. The sound in both the original PCM mono and the Dolby two-track enhanced mono is clean and full, though not as vivid as modern recordings. The piano is recorded in front of the orchestra and is well displayed. Also recorded on this two DVD set are the Leonore overtures 2 & 3, the Egmont overture and the Symphony no.8. The LPO plays beautifully under Haitink. The total time of the two DVDs is 277 minutes.

These are archival releases, digitally remastered, and allowances must be made for the age of these recordings. If you take that into account, you will soon find yourself drawn into this grand style Beethoven and luxuriate in it. You may even wallow, as I did. Strongly recommended for the memories it evokes.

Mike Birman

Product Description
Studio: Uni Dist Corp (music)Release Date: 10/04/2007

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Review of Artur Rubinstein in Concert (1989)

Following their release of Artur Rubinstein's Grieg, Chopin and Saint-Saëns concertos, Deutsche Grammophon issues another fascinating programme about the great pianist, recorded two years earlier, in August 1973, at the Concertgebouw in Amsterdam. Rubinstein can be heard and seen in Beethoven's 3rd and Brahms's 1st, both accompanied by the Concertgebouw Orchestra under Bernard Haitink.

Produced by the same team, with Hugo Käch directing, the great Max Wilcox who had been recording Rubinstein since 1959 as audio producer, and Robert Hofer responsible for the photography, this DVD provides further insight in the artistry of one of the most significant pianists of the previous century in the indian summer ("autumn" would be too strong a word for the 86-year old Rubinstein) of his career. Rubinstein at this point approached both concertos with an unforced, patrician distance, avoiding all excesses in sound and tempi, as if he wants to let the music speak for itself, at times almost turning it into chamber music. It's an old master returning once more to these works he has played, loved and explored for decades. Yet there's no sign of fatigue or errancy. Very few have been able to make this music sing with such freshness, clarity of line and naturalness of declamation as Rubinstein did. The Largo and the Adagio sections boast a mesmerizing serenity and almost nocturnal quality. Eventually, the simplicity of his music-making, the humanity reflecting Rubinstein's own rich vision of life, have something profoundly touching.

Schubert's Impromptu in A flat major (D. 899/4), Brahms's Capriccio in B flat minor, op. 76/2 and his Intermezzo in B flat minor, op. 117/2, Chopin's Scherzo in B flat minor, op. 31 are concluding the programme and are much in the same vein.

Soundwise the "Artur Rubinstein in concert" DVD is preferable to the earlier release because of the warmer acoustics of the Concertgebouw hall which seem to suit Rubinstein's lyrical and spacious approach better. The playing of the Concertgebouw Orchestra under Bernard Haitink also boasts more character than the London Symphony under a neutral and often bland André Prévin. The rich and distinct sonorities of the Dutch orchestra are a joy from start to end.

Curiously, this DVD gives us the exact same bonus as the earlier release with the "Rubinstein at 90" film, showing the pianist in conversation with Robert MacNeil at his Parisian home in 1977. Good as it is, there are plenty of other insightful documentaries of Rubinstein around which could have been offered as an extra.

Highly recommended.

Product Description
First DVD release of this legendary performance by a legendary artist. "Rubinstein's superb form is matched by the incredible musical sensitivity of Haitink and the orchestra...Sounds and images are expertly cued to the split second... Rubinstein's face, body and hands are captured in a smooth flow of shots and reflections...The Beethoven takes on an almost Mozartean delicacy, the Brahms is infused with all the power it requires." --The New York Times A vibrant and revealing interview, "Rubinstein at 90" conducted by Robert MacNeil, is included as a bonus. Filmed in the Concertgebouw, Amsterdam, August 1973 (concert) and at Rubinstein's home in Paris, 1977 (interview) Artur Rubinstein, piano Concertgebouw Orchestra, Amsterdam Bernard Haitink, conductor Directed by Hugo Käch

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