Tell me Your Favourite Beethoven Piano Concerto No.1?

Recorded in 1932 at Abbey Road Studio No.3, this makes one of the oldest Beethoven Piano Concerto No.1 I listened to so far.

George is right in that the source quality isn't very good and I'd say this Naxos CD is even below historical Grade. 

This Naxos Historical Series CD is sourced from mid 30s scroll-label American Victor 'Z' shellacs. I'd reckon similar to the one shown on left. Naxos Engineer Mark Ober-Thorn claim is that this series of 78s have the lowest noise floor. 

Oddly, the No.1 sounds actually worse than No.2 with lots of peakiness and distortions in orchestra crescendo and massed strings.

The entire CD has unusually high white noise which is difficult to hear through some quiet passages. Certainly this production doesn't have the EMI Testament quality and I suspect the poor quality is partially due to a poor mastering. ( or lack of )

Performance wise, it has a Classic traditional feel which sounds a tad dated styling wise but Schnabel is livelier than usual keeping a brisk tempo with clear and concise note delivery. Feels a bit like a disorderly Mozart/Haydn or extremely well-mannered Beethoven. Even the cadenza is on a polite side for me. More reserved and civilised performance.

Unusually drawn-out 2nd movment as if he's caressing the melody. His interpretentaion is fine unfortunately till overpowering disorted sounding orchestra spoils it.

Actually I enjoyed their No.2 more so than the No.1 for their Mozartian sophistication and rhythmic grooves.

For Elise is lovely. Economically played with very little decorations yet he manages to get the right shading and mood for this little piece.

The vinyl version of this Argerich/Sinopoli album is going for too much $$, I just decided to get a CD.

This is a mid 80s release and a bit in your face with silvery edges on orchestra climaxes and massed strings. I'd suspect this remastering is a suspect. I would like to hear this on the vinyl if I get an opportunity.

If I were to sums up Martha's Concerto No.1 in one word would be 'fierce'.

She is going all out on the 1st movement with a virtuoso style as Beethoven would have played. Straight forward as Backhaus and one hell of a storming performance.

She is relentless and just on the case all the way through like an imposing hungry tigar. Sinopolli's direction might be a tad heavy handed feeling like a thick gray cloud hanging over. I feel the 2nd movement lacks a touch of lucidity and somewhat theatrical presentaion. Lyrical Rondo. Highly animated with expressive phrasing.

As a whole, all seem too big and brash and not enough introspective private projection for me tho. Sinopoli is conducting the orchestra like playing a Feste Romane.

Oddly this high level energy duo is great on the No.2 which laced with elegant Mozartian touches. 

Martha's ballsy attitude and spirit making these tunes really interesting to listen to.

Found a US Seraphim reissue of Solomon's No.1 at a local record shop. This is a 1956 Abby Road Studio recording with Menges/Philharmonia.

High tape hiss noise but generally free of obvious distortions and congesstion. I certainly have heard a better sounding Abbey Roady recoding from the same era, however.

For the performance, in spite Solomon's fluid note delivery, this is Not a very lively set. I do not know much about this conductor his styling is rather conventional and ordinary. I just don't get the intensity I expect. Rhythmically stilted and emotionally flacid. Solomon shows no passion on the 1st movement. Everything sounds just too even-tempered and all of his notes are rounded. Very little dynamic contrasts. This is a gentleman's Beethoven. I miss the straight talk of Backhaus. Even the 2nd movement sounds cardboard like. Maybe I am missing the subtiles but this is one of those records that wondering when it'll end.

Orchestra sounds flat and massed strrings sounding like a bag of tweeters at the finale.

This is a 1961 recording by Kempff/Leitner. The one I have is a gate fold French release but the record inside is a German pressing. Unlike US *import* version, this one sounds quite nice. 

These older DG records tend to be warmer and more natural sounding. A decent frequency extension and clarity, too. No peakiness in upper register keys and at the crescendo the dynamic is impressive.

Leitner's direction is well balanced and get out of the way. Kempff here enters with a lovely rhythmic flair. He maintains clarity and precision yet remains so natural and melifulous throughout. Got enough balls and authority, too. Largo is full of emotion with many of his intuitive spontaneous touches that make the tune more interesting to listen to. He makes me more involved as a listener. Rondo is bouncy and fun. Not as strong willed or funky as Backhaus but subtle masterful creative twists adds to the greater dynamic contrasts. Gentler soul but he's firm when he needs to be. Love his fun cadenza!  

I like his Chopin pieces but now, admiring his Beethoven Concertos, too.

He looks rather serious but got a twinkle in his eyes.

W00t! 

Shipped today!

Good stuff Kuma. Found the Zimerman waiting for me in my mail box today, too!

EJ

EJ,

Be sure to report back particularly the No.4 Concerto on Lenny/Krystian show.

Kuma, am listening to the first disc. Very enjoyable, clean performances highlighted by Zimerman's carefully crafted approach and super control over dynamics. Recording is good although it lets through quite some heavy breathing / humming or who knows what Zimerman is doing next to playing his instrument.

EJ

Continuing on to #3 (my favourite of the five)... wow! Bernstein here shows us lesser mortals how it's done, period. Zimerman follows with a white-hot performance full of flourishes, with some of the best give and take between piano and orchestra I've heard in this concerto. Recording quality is very good given that these were captured live in the late 80s, with good balance between piano and orchestra. 

Cheers,

EJ

EJ, 

Thanks for your follow up. I didn't realise your set contains ALL 5 concertos including the same performance on my CD.

Yeah. He sort of went 'Gould' on this performance but that doesn't bother me at all. Like you, I am very much enjoying Zimerman's Brisk, perky and crisp No.1.

I really like his attitude signalling a touch of sophisticated humor in the intro.

Articulate, or you say *super-crafted*,  and rhythmic 1st movement with beautifuly deliniated lyrical notes.

Love the way he creates the dynamic contrasts.

He is very much passionate and expressive yet he keeps them fresh. Light touch on keys and bouncy fun that keeps me hooked. What a temper at the end of Allegro! which I think it's great!

On 2nd movement he's going *Gould*. I can hear him humming along totally lost in the music. Sorrowful lonley melody line gives the sense of defiance and courage. Lively Rondo is well supported by a linear bass line which gives the tune a strong structural integrity. Love his intermingling with the strings, too. Probably not as funky as Backhaus but that's all right.

Anyways this performance gives me enough to internalise many things through music.

Soundwise this CD is a bit on a lean and bright-ish side with a touch of congestion in massed strings. Not much bloom or bass weight but I appreciate the music sounding up close rather than a balcony Box Seat view.

Incidentally, I thought his No.2 was entertaining. He reminded me of a temeramental artist with an ADD who's extremely excited talking 100 miles./hr. 

I can just imaging their 3rd would be like...

My favourite No.3 so far is Richter/Sanderling. Very cool, calm and collected. I'd imagine 180° from Lenny/Zimmerman?

How is their No.4?

Andsnes' first Beethoven Concerto effort. In the past I am only familiar with his haunting Greig Lyric Pieces. 

He now is under Sony Classical Label with their huge marketing machine behind him. The sound of this disc is excllent with a warm tonal hue and bloomy bottom end. It's a bit *round earthy*.  No congestions or peakiness on upper register piano anywhere. Multi mic'd as individual instrumetns are well separetd and prestented with proper colours and textures.

As Zimerman above, Andsnes is conducting the orchestra.

He starts off with a light touch orchestration like a cool Northern breeze. How odd that it sounds a bit like Grieg in a sense that very clear and transparent open window. More reserved 1st movement than Zimerman. Followed by rather conventional 2nd movement with uneventful piano expressions. Maybe I am missing something but I am not hearing any new insights from this set. There is a sense of hesitation in Rondo and certainly not funky enough as note lands on soft footing. Just not enough dynamic contrasts and limited expression range as my mind starts to wonder off rather than revetted to my seat in anticipation of what's next. He's holding back even at cadenza.

This sure was a bummer.

Kuma, I'm sorry to hear that. When I heard him live, he tended to come across as cool and efficient. That may give him a limited range, as he has recorded a magnificent series of Schubert sonatas, up there with the best, but, say, his Liszt is nothing to write home about. Based on your review, I'm going to give this one a pass.

EJ

Kuma,

Cut from the same cloth!

I'm slowly working myself through this box. Could well be the purchase of the year, I find myself in agreement with everything I'm hearing so far. Bernstein and Zimerman are revelations in these works. The overall approach is epic and powerful, lots of energy put to good use instead of rushing through the pages. Zimerman's imagination and tool box seem endless:  in III, he manages a Pollini-like clanginess in one bar, then immediately switches to a velvet mezzoforte that sounds absolutely riveting.

The sound in the fourth is enjoyable, perhaps slightly edgier than what came before. Although my hifi doesn't sound like Naim, from memory I think my CDX2 would have loved it, as well.

Cheers,

EJ

EJ,

It's this *discovery* that I found fascinating with listening to various covers.

I like later Bernstein with Vienna Phil a lot more than his earlier Columbia/NY Phil releases both in performances and sound.

You speak of Zimerman's 'Toolbox' is what I felt about his 2nd as if he's presenting different ideas; 'how about this!?' 'how about that!?'

I've been living with Naim systems for a while but all I can hear is music. I hardly think about hardware any more except that the turntables do need some periodic maintenance. Both of my CD players are fixed so life is good again.

Now back to more Beethoven Piano Concerto No.1!

This is a famous Richter/Munch/BSO US debut. Altho this isn't a live recording they've had this recording session around the same time.

Richter could be very good in the showy piece like this albeit I am not too keen on Munch's heavy direction.

Unfortunately my copy is just a mono not a Living Stereo. 

It is generally a distortion free compact mono recording. As most RCA mono vinyl of this era, it lacks bass dynamics & frequency extentions. I'm sure that Living Stereo version would offer a better overall fidelity than this.

As for this *historic* performance, the very first thing popped into my head is, 'Very *American*'  in a sense that the presentation is big and Cadillac like comfy ride. Munch's orchestration is grand and proper but I find conservative and even a touch old fashioned. Richter's entrance is unassuming but he seems mechanical lacking his usual sense of cool lyricism. Technically he's right up there but I get the feeling he's playing with a caution as some of the phrasing sounds a tad safe. I certainly have heard him go out on the limb than this. ( that's when the magic happens )

Orchestra sounds overwhelming on the 1st movement. This set just sounds entirely too damn serious and stern. The 2nd movement sounding merely a beautiful decoration. Impressive 3rd movement just passes through like a gust of wind leaving me with nothing.

He's much more interesting when he's daring and spontaneous and that's how I see this concerto as an appropriate way to be served up.

Kuma, you sure you don't want to give Stephen Kovacevich a second chance? 

EJ

EJ, 

So I did and listened to his record again.

This original 70's Philps pressing is excellent in terms of the sound: 

Excellent frequency extenion, intimate sounding piano coupled with realistic tonal colour. A low noise floor to boot.

However, I am still indifferent about this performance.

As I expect from Davis-Bishop duo, it is elegant, fluid and text book example of what classical music supposed to sound like and be performed.

Flowy and melifulous but I can't overcome the bland, 'faceless' nature of this presentation.

The 1st movement has a chamber music feel. Bishop is upright, bright and clear cutting through the orchestra. Davis' orchestration is inoffensive and rhythmically a bit dead. The 2nd movement not as fluid and he's tripping through. Definitely this feels more Mozartian than others which is fine but whatever the reasons, it does not get me involved. The Rondo starts out fine, but then, Davis sort of ruins it by bland orchestra entrance for me. More like a light Sunday brunch concert.

It really is fascinating what makes me tick, but Bishop looks pale compared next to Zimerman, Kempff, Backhaus, Michelangeli etc...

He just doesn't have much to say. Or doesn't tell a compelling story.

At least to me.

Even his ex ( Argerich ), altho, not my favourite performance so far, at least have a strong POV. 

I can respect that.

Kuma,

Listening to it right now and after Zimerman it does sound a bit middle of the road. I don't hear the slackness that you refer to, in a quite subtle but warm and well-structured reading, but understand your view.

EJ

EJ,

Is that the one with Davis or Bishop/Kovacevich conducting?

Davis, same one as you posted

Ah ok.

Supposedly there is a newer version with him conducting but I can't find it.

Do you know?

Kuma,

You're looking for his recordings with the Austrlian Chamber Orchestra, originally recorded for EMI Eminence and re-released on its budget label 'classics for pleasure'. They're quite rare, and I haven't heard them.

Cheers,

EJ

EJ,

Thanks! Found it!

Interesting that this CD had a scathing review by Gramophone. No wonder noone bothered listening to it.

The review starts out with this sentence: "This is a weird and not-so-wonderful record that I am slightly surprised to find being marketed under EMI's colours."

Poor Steven.

Now of course, I am more curious to hear it myself.

Hmmm just read those reviews. They're pretty apt descriptions of the Kovacevich on his complete EMI sonata set. Over the years, his Beethoven has become more extreme, aggressive, to the point where if you would compare his Philips and EMI recordings, you wouldn't guess it's the same pianist. 

edit: zooverstocks has these discs in stock, at less than GBP10 in total

EJ

Listened to the #1 earlier this evening. In some ways, this is vintage Arrau: his burnished bronze sound, speeds on the deliberate side, every note carefully weighted and pondered over, but in the service of an inner excitement. Here is a master story teller that keeps us glued to our chairs with style but no flash.

But there are unpredictable elements as well: Arrau can be wayward with rhythm and emphases on notes and bars unlike anybody else. I'm sure that Arrau meant it: he was the most scrupulous of musicians going into the studio, aware of his legacy. Davis does well, he can be great or bland, and here he is in the service of Arrau and more on the 'great' side.

I'm very happy to add this record to my rapidly expanding collection of Beethoven concertos. Before Kuma started this thread, I thought I'd heard it all and now, with almost twice the amount of recordings of these works, it feels like I've only touched the surface. Brilliant!

Cheers,

EJ

As a fellow Arrau fan, EJ, you have piqued my interest. Thank you.

To Kuma,

I have received the Aimard/Harnoncourt from Aunty Rainforest and 'the jury is still out'. I think I need to listen to this set a few times. It is challenging - maybe I'm too much a traditionalist. Initial thoughts are that tempos are unusual at times, as is the abrupt ending of orchestral notes (it's hard to put in words) but maybe this is because I'm used to 'big' orchestra sounds rather than smaller  'period' orchestral sounds (yes, I know, the COE are not exactly period, but I'm not sure how else to explain !). Also, Aimard lacks the beautiful poetry you get with Perahia and the nobility you get with Arrau. Still listening though.

Regards to both.

WW,

I find Harnoncourt's direction special. You're right that his stuff isn't a comfy familiar ride. His direction sounds a breath of  fresh air to me. But his tempo is a bit on a slow side clocking at over 19 min on the 1st movement but I doubt this set qualifies as a HIP, tho.

I've listened to No.1 several times as well as No.2. I've also tried a few No.4.( not as special as the first two ) I can't deal with repeated listening of No.3 and 5 because they are not my favourite tunes. ( or I have been too over exposed by wrong piano player ) :x

Def. I prefer Perahia over Aimard for the PC1.