Tell me Your Favourite Beethoven Piano Concerto No.1?

In chronological order:

Schnabel, Sargent, LSO, EMI 1932;

and,

Barenboim, Klemperer, Philharmonia, EMI 1967

Each one has particular strengths, such as Schnabel really digging out the Haydnesque rhythmic snap [more Hungarian than Austro-German] of the Finale, whilst Barenboim and Klemperer find a sensitivity without romanticism that is entirely apt for the music, and not only beautifully played but sumptuously recorded.

ATB from George

Kuma,

Too many recordings to have a clear preference. Kovacevich/Davis makes a good chance. For years, Perahia/Haitink was my clear preference, but there's also Brendel/Rattle, Lewis, Lupu... on radio, I recently listened to Kissin and I thought he was brilliant, although different. I also like Barenboim/Klemperer, it's a trail blazer of a performance. And don't forget Ashkenazy!

EJ

I was beginning to think I should have put XTC or Talking Heads in the subject line to get any kind of lift out of the folks here!

Interesting you recommend Schnabel. I was listening to his Conceto No.3 ( '47 recording with Dobrowen/Philharmonia ). I will look for his earlier piece.

I've a Barenboim/Klemperer Piano Concerto No.5 which I haven't had a chance to listen to. I will look for a No.1 as well.
Do you like all of their Beethoven Piano Concerto together?

I can never warmed up to Bishop( Kovacevich )'s piano playing. His Philips recording usually are very good but his Beethoven Concertos or Mozart pieces just didn't do much for me.

Now I just discover this Perahia/Haitink you speak of and this is indeed very good! I wasn't sure of Perahia ( listened to a few Mozart and Schubert pieces ) and that Haitink isn't my favourite conductor. So i was skeptical on this one but wow! I love this brilliant set and this *newly discovered* version cadenza, too.

Brendel made a few Beethoven recording on both Vox and Philips label. thanks for the Rattle reco. That set might be interesting. 

Yeah. I should listen to Lewis/Belohlavek. It's  Harmonia Mundi so it sounds probably great, too. I liked Lewis' Schubert overall so I am curious to hear his Beethoven.

Lupu...is he better at Concertos? His Piano Sonata was excruciatingly dull.

Others on the list yet to be listened to:

Kuma,

i purchased this cd almost a year ago.

i don't really feel the need to explore other LvB's piano concertos for not being a huge enough fan of this particular musical format so my Zinman/Bronfman cd is only occasionally played - yet when it is, it's very much enjoyed, and i wonder why i don't play it more often.

I recommend you move this version higher up your 'yet to be listened to' list : )

In fact i warmed so much to this i also purchased the Zinman/Bronfman no.s 3&4, and the triple concertos of which only gets better imho, altho' that maybe LvB's doing with the composition?

Just realised i don't have their no.5...

and on Amazon it's as cheap as chips...

Oh well,  there goes another £3.77 ; )

Debs

Kuma,

I can echo EJ on this as there are just too many choices and you can't go wrong with any of them, in my opinion, if you appreciate them for what they are.  I found your favourite, the Michelangeli / Guillini, to be an interesting choice.  Lots of character, especially at the tempos chosen since it allows the time for more sculpting and paying attention to more details.

And yes, the Lewis/Belohlavek is a very nice recording.

I have too many to list but in addition to all the good suggestions above, I'll add a handful or two to the mix.

Arrau / Haitink

Goode / Fischer

Shelley / Shelley

Barenboim / Barenboim

Pletnev / Gansch

Uchida / Sanderling

Ax / Previn

Kempff / Leitner or van Kempen

Backhaus / Schmidt-Isserstedt

Gilels / Szell

Serkin / Ozawa

Yup, a composer with a last name starting with B, core repertoire, and there is no end to the choices.

Doug

Dear Kuma,

Concerning the Barenboim cycle with Klemperer, I had these on LP as less than a thirteen year old - first release HMV/EMI. I grew up with them. I did not have the First and Second Concertos that early. I bought a re-release boxed set to get these, as the original stereo LPs had been extensively played on a non-compatible mono cartridge, and no longer worked well ...

There is a current budget price EMI release of the Nine Symphonies [Klemperer] and Barenboim/Klemperer Concerto Cycle with the contemporary Choral Fantasy recording. It is superbly mastered, and sells at a very nice price. In so many ways these are the most satisfying performances of the music that I know, though obviously this remains a personal view.

As for Scnabel, the post 1945 recordings of four of the five concertos is rather less grand than the 1932 to 1935 recordings with Sargent and the LSO - LPO for the Second Concerto. The  earliest recorded, the Emperor and First Concerto get a quite bright recording that has apparent wear in the masters as they were very popular records at the time, and many pressings were made from the master parts. The Third and Fourth were given a slightly watmer recording a few months later, but as with the First and Fifth the masters themselves are somewhat worn. The Second Concerto was left till 1935, and is a superb recording in every way. As it happens my favourite performance of this one is Solomon's 1954 [1955?] recording with the Philharmonia, and Testament have this released some years ago. 

I have the EMI transfers of the early Schanel recordings as released on licence by the USA label Arabesque. This has long since gone, but I think Naxos has these recordings transferred from commercial shellac. I have not heard them, but it is possible that they might be better than the master based EMI transfers, if they got early shellac in pristine condition to work with.

I'll try to find the amazon picture of the Klempere Somphony/Concerto Cycle with Barenboim. and post here, if successful.

ATB from George

PS: I agree that there are hardly any less than good or great recordings of these Concertos. Among those I have owned and enjoyed are Bishop on Philips, Serkin on Tellarc, Arraw, on mono LP of the Third. But itdifficult to go wrong with them!

Three recordings that remain elusive - issued by Testament at a high price - are the live concerts from Klemperer's 1957 Beethoven Festival with the Philharmonia. The symphony recordings from this series are a phenomenon, though the old BBC tapes are hardly ultra-hifi! Preserved in these issues are recordings of the Third, fourth , and Emperor, in what are legendary efforts. They are on my wish list! Arraw was almost one apart in terms of Beethoven on times. I have never forgotten that old mono [EMI/Columbia] record of his studio recording of the Third, though the conductor was not Klemperer in that instance.

Originally Posted by naim_nymph:
i purchased this cd almost a year ago.
i don't really feel the need to explore other LvB's piano concertos for not being a huge enough fan of this particular musical format so my Zinman/Bronfman cd is only occasionally played - yet when it is, it's very much enjoyed, and i wonder why i don't play it more often.
I recommend you move this version higher up your 'yet to be listened to' list : )

In fact i warmed so much to this i also purchased the Zinman/Bronfman no.s 3&4, and the triple concertos of which only gets better imho, altho' that maybe LvB's doing with the composition?

Deb,

Their Piano Concerto 1&2 is on its way. Their Beethoven symphonies also are said to be very good. So I am curious to hear this Concerto. I am not at all familiar with this label to altho, the sound quality is said to be very good.

A person who recommend this to me knows I like Toscanini and he seems to think that the style is somewhat similar. Except the sound quality is a lot better than the old RCA monos.

Ha! Mine was 5$USD shipped. ( 2$ for a CD, 3 for shipping )

You pretty much nailed it why I like that particular recording. The 1st movement is very slow but then I didn't even notice it! They hold my attention all the way through. Elegant but I find it extremely expressive. There's a human-ness behind the score.

The strike through meant I've listened to those already. Backhaus/Isserstedt is coming.
Not at all familiar wtih Shelly.
Is this it?

I don't have any recent on Pletnev so that might be interesting. I remember I was liking his style.

Know nothing of Ax.

There are many good recordings but my top favorite for Beethoven Piano Concerto  no. 1 is the recording from Deutsche Grammophon with Martha Argerich on piano and Giuseppe Sinopoli conducting the Philharmonia Orchestra of London. Best on Vinyl if you can find it, but also the CD is not that bad. I wish they would reissue this in H-Res. Also good when it comes down to Beethoven Piano is: Maurizio Pollini. I really like how he plays the Beethoven Piano Sonatas, especially the late ones.

Of course, obvious like the nose on ones face, how could I forget Maurizio Pollini with Eugen Jochum or Claudio Abbado?

Kuma, the Howard Shelley I have is the recent Chandos recording with Orchestra of Opera North.  I have only listened to this once but had mixed feelings initially.  I think it is time to give it another chance.

The Pletnev would be almost the complete polar opposite of Michelangeli, I'd think.  If you want something that sparkles with excitement, is less mannered and "freer" or tends to sound more improvised, head in this direction.  He plays on a beautiful sounding Blüthner, which is a famous piano which originates from Leipzig.

Back at the other end is Radu Lupu but I wouldn't call him dull.  Meticulous and classy which is similar to Michelangeli.  It is just a different way that reflects the players character somewhat.

Don't be afraid of Kissen.  I have always liked him and his playing and have many exceptional recordings of his.  If memory serves me well, I seem to remember that Kissen worked with Brendel extensively prior to his recording of these Concertos.  This is not dissimilar to Lewis who I believe was even more so Alfred Brendel's protégé.  It has been a while since I listened to either so I think I will do so soon to see if any of the Brendel shines through.

George,

I'm going to try to source the Piano Concerto No.1 in vinyl first and test the water before I commit to the rest. Whilst I greatly admire Klemperer, I haven't heard a single performance by Barenboim either as a piano player or a conductor that I liked. ( this includes his tenure at CSO )

Certainly the Angel Historical reissue I have of his '47 No.3 Concerto is very poor. It was never made it onto record till it was released in France in the mid 50s because of Schnabel mis played the trills on the 3rd movement.

I will revisit Solomon as my dealing with this work so far is only a few Beethoven Sonata pieces. I could tell he's a skilled pianist but had a tendency to self pontificate. So I sort of moved on but now you mention it I might give it a shot on his Concerto.

Bishop on Philips didn't do a darn thing for me in spite it sounds decent. Same for Arrau on Philips with Haitink. Altho, his earlier ( '47 ) No.3 with Ormandy had a lot more *life* and sparkle. I get the feeling that Beethoven Piano Concerto requires a tremendous amount of stamina to pull off convincingly. Arrau's later No.1 was wanting.
I've listened to two versions of Serkin/Ormandy and loved the earlier Serkin. ('54? ) He's a lot more playful there.

Younger Arrau/Klemperer might be interesting. 

That EMI/Columbia Arrau No.3 you speak of might be the same one I listened to ( Ormandy ) ?

Thank you for your input George. I am playing a catch up but figured better late than never!

I wish they would reissue this on vinyl! This record seems to reach as a *collectible* status as it's going for a silly $$. How lucky you have it on a record.  I think this is a lot more interesting pairing than one with Ozawa. I am gonna try to get this on record.

I ought to try Polini's No.1. His No.5 with Böhm/Vienna Phil. Is decent albeit it's a bit more of cerebral listening experience rather than from the *gut*.

And I do like some of his Late Beethoven Sonatas but I find him a bit too *straight*.

He does one of my favourite Mozart's Piano Concerto No.20 and very fun almost Horowitz-ish Chopin's Scherzo.
I could see him playing a great Beethoven Concerto.
I still have a bit of reservation towards his private life, but can't deny he's one of the great interpretor. His style is a lot more theatrical perhaps than Michelangeli's but he certainly can captivate.

Lupu will be a near bottom of my listening list after listening to his Beethoven Sonatas.
I just felt that he was trying so hard whereas Michelangli does not let you see that *mechanism*.

Oh, I'll try a later Kissin. But I think there are a lot more pieces I need to get to before I get to him.

I'll try Lewis before him.

Brendel is a big question mark for me, too. He's pretty hit and miss. Perhaps you have to study music to understand his *art*.

In my uneducated and unsophisticated mind, he just comes off too well mannered where I think the music should have fire and passion and should communicate and reach out to people. Certainly I've got an impression that's how Beethoven wrote the music.

Dorfman/Toscanini is my favorite; lean, clear, pure and no nonesense.  Solomon/Menges is also a fav for its beauty and classical poise.  My introduction to the C major Concerto was the Serkin/Ormandy.  I also have fond memories of Rubinstein - his third cycle with Barenboim in the mid 70's when he was 91 and almost blind.

Bro

Bro,

Since I've an affinity for Toscanini (he started my interest in Beethoven's music ), I am looking forward linstening to his PC1. Altho, I am not at all familiar with Dorfman's style or even her name.

I don't have Rubsintein's last PC1, but I was listening to the Emperor Concerto from the same cycle. 

I think he was just too old to play this athletic piece properly as he sounded tired and rhythmically stilted. He was brave to try it as most pianists at his age would play easier pieces. Good God. I didn't realise he was up in his 90s when he played it!

I've got a Leinsdorf/BSO Concerto No.1 from his second cycle ( '68 ) and I just think that Rubinstein might be just too nice of a guy to play Beethoven piece where a touch of volatility and chip on the shoulder at times are needed. This concerto has a certain sophistication ( or court music-like ) yet I think a bit of audacity is needed.

Leif Ove Andsnes' Beethoven No.1 will come out on Sept. 11.

I've placed my order. 

This is the start of his Beethoven Journey where he's said to record all 5 concertos in next few years.

Beethoven Journey

If you are lucky to live near Leicester (De Montfort Hall), he'll be playing the No.1 with Philharmonia Orchestra/Esa-Pekka Salonen. I would love to hear that.

Dear Kuma,

These are the performances I mentioned from the 1957 Beethoven Festival series [in London Royal Festival Hall - Philharmonia, Klemperer with top soloists of the days in the concertante works].

I shall get this myself in the next month or so.

The recordings themselves are "off-air" monitor tapes, never intended for commercial release [now kept in the National Sound Archive], and though I have recommended others to the symphonic parts of the series, some have found the live atmosphere and audience noise [actually very quiet, as Klemperer always had the house lights turned off as at the cinema] and none-too-hifi recording quality more than they could take. The other recordings do present a very good musical balance though, and no details are swamped in thick overweight tonal quality. Klemperer always had the knack of keeping the orchestra playing clearly, and the recordings do catch that, as well as the blistering energy, and a hint at the grand timbres. I'll report back on this when these recordings do come.

ATB from George

PS: I cannot recall at all who the orchestra and conductor on the studio [mono] recording on an English Columbia LP where Arrau was the astonishingly fine pianist, sorry. We are talking almost forty years ago on that! 37 years at the least, anyway.

George,

Please keep me posted when you get the Arrau/Klemperer set.

No Concerto No.1?

Dear Kuma,

I note your comment about Barenboim ...

I have two cycles of the concertos - Barenboim/Klemperer [1967] and Schnabel/Sargent [1932-35], but this is a list of my favourites in each concerto:

First. Schnabel, which catches both the detail, and there seems enough time [i.e the performance is quite quick, but allows time for the music to breathe] to give the sweep of the music without stressful compression of music aspects, and overcomes the sonic limitations of the well worn masters in EMI's transfers.

Second. Solomon [EMI/Testament1955/recent remaster at Abbey Road]. This performance actually made sense for me of an enigmatic work. One that is full of Mozart [let alone Beethoven] while remaining constant to the Haydnesque element in early Beethoven. The recording is very fine mono.

Third. Actually Barenboim, though Schnabel is a contrast that is just as pleasing in its way for me -especially the slow movement, which catches a romantic stillness that defies belief..

Fourth. Dame Myra Hess, LPO Boult, live at the Royal Albert Hall, in about 1963 [Prom Concert]. A performance - issued by the BBC that defies every single expectation - that shows how Hess is really totally under-estimated nowadays. Edwin Fischer [Philharmonia - no conductor, EMI 1954] makes a superb counterweight, as does Schnabel in in his more thrusting way ...

Five - Emperor. Arraw, Dresden State Orchestra, Colin Davis. Actually this is so fine, and has a modern and well balanced recording that is topline. A rare enough occurrence in the presence of a favourite performance. 

These are the favourites of mine, and do not indicate that others do not - on the right day - give just as much pleasure to me.

ATB from George

George, 

Thank you so much for your thoughts and listing your favourites.

I've ordered the Schnabel/Sargent's Piano Concerto.

No.3 or 5 have more familiar melody lines, but No.4 is now quickly becoming my favourite Beethoven's Concerto. At first I wasn't sure of it but more I listened, I started to *get it*.

Myra Hess/Boult set I'd think would have a sophisticated romantic reserved feel?

I've one Schumann's Piano Concerto record by her.

Now, here's a question:

Have you ever heard a performance so bad that you can't stand to listen again?

Dear Kuma,

The Hess/Boult performance of the Fourth has a significant amount of fire, as well as a great sense of the power actually being reserved for the true climax of each movement. It is a completely satisfying performance, and while listening, I cannot think of the music going differently. Not even Schnabel achieves that in the concerto, but Fischer does, though one could wish he was just a bit more accurate with the actual notes here and there! The slight problem with Hess - for some people, allergic to audience shuffle - is that though the Prommers are absolutely drawn in to the music making, they are not quite quiet at the start! But their eruption at the end is amazing! Boult was a great friend of Hess, and it shows in the ultra-attentive orchestral support, which is a model of constructive accompaniment. Not merely passively following an esteemed soloist [it her last concert though this does not show], but actually involved in a deeply romantic exchange. Yet it has a sense of shape and reserve that allows for the clinch. I'd call it one of my all time favourite Beethoven performances. anyone who listens to it will "get" the Fourth in a second. Same with Solomon in the Second. It is totally based within the music, rather than based on the characters of the performers, and none the worse for that in my book!

I hope you can enjoy the old Schnabel set. Beside Barenboim, it is the one I grew up with. Baremboim on LP, and Schnabel on many sides of HMV shellac 78 discs!

ATB from George

Kuma, I'll be shot for this: but I don't like Grimaud in #5. All the notes are there, but none of the persuasion.

EJ

EJ, 

I haven't heard her recent work but her Chopin/Ravel work left me cold. They are played out beautifully but everything sounds a bit same same. She comes up emotionally empty especially when compared to other pianists playing the same score.

BTW, Ashkenazy/Solti No.1 turned out to be pretty good!

This is not his later Cleveland performance but when I saw the box set at the record shop, I grabbed it.

Beautifully recorded at Krannert Center U of I, Solti's *big* ba-ba-boom orchestra strangely works well with simple unassuming Ashkenazy's playing. Creating almost like a David vs Goliath dynamic contrast. 2nd movement doesn't have the intimate feel but then  he builds it up slowly and by the time the Rondo hits, piano is in full force leading the orchestra.

I don't care for Solti's style much but strangely Ashkenazy keeping things down to earth and real for this set.

This is a Record of the Month Club Masterdisk reissue but the fidelity is excellent.

Kuma,  I agree with you I like Ashkenazy. Haven't heard his Cleveland remakes, but these concertos in general tend to benefit from a strong conductor who keeps things moving. Like him or not, Solti was his own man. With the right orchestral support, Ashkenazy really was member of the top class.

EJ

Speaking of a strong conductor, I wasn't too enthused with Brofman's piano playing ( entirely too inoffensive and timid, lacking that 'fire in belly' intensity ), the conductor David Zinman's direction here is clear as a bell with dashing tempo. 

Two contrasting personalities like Ashkenazy/Solti above but this set isn't gelling nor augmenting each other's strength. Bronfman's piano sounds less dynamic and bland.

This is definitely the case where the orchestra leading and taking charge. I won't be exploring this piano concerto with Bronfman but I am certainly curious about Zinman's Beethoven Symphony work.

This doesn't resonate with my experiences hearing Bronfman live... was sitting front row and the sound was ear-splittingly loud, I fully expected him to pound the piano through the floor. 

EJ