Beethoven: The Piano Concertos; 5 Sonatas; 2 Rondos

Beethoven: The Piano Concertos; 5 Sonatas; 2 Rondos

Beethoven: The Piano Concertos; 5 Sonatas; 2 Rondos
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CD Details

Composer: Ludwig van Beethoven
Conductor: Zubin Mehta
Orchestra: Israel Philharmonic Orchestra
Performer: Radu Lupu
Edition: Music CD
CD Release Date: 2006-01-10
Music Label: Decca
Soundtracks:
Music CD 1
  1. Piano Concerto No. 1 in C major, Op. 15: 1. Allegro con brio
  2. Piano Concerto No. 1 in C major, Op. 15: 2. Largo
  3. Piano Concerto No. 1 in C major, Op. 15: 3. Rondo: Allegro scherzando
  4. Piano Concerto No. 2 in B flat major, Op. 19: 1. Allegro con brio
  5. Piano Concerto No. 2 in B flat major, Op. 19: 2. Adagio
  6. Piano Concerto No. 2 in B flat major, Op. 19: 3. Rondo: Molto allegro
  7. Rondos (2) for piano, Op. 51: No. 1 in C major
  8. Rondos (2) for piano, Op. 51: No. 2 in G major
Music CD 2
  1. Piano Concerto No. 3 in C minor, Op. 37: 1. Allegro con brio
  2. Piano Concerto No. 3 in C minor, Op. 37: 2. Largo
  3. Piano Concerto No. 3 in C minor, Op. 37: 3. Rondo: Allegro
  4. Piano Concerto No. 4 in G major, Op. 58: 1. Allegro moderato
  5. Piano Concerto No. 4 in G major, Op. 58: 2. Andante con moto
  6. Piano Concerto No. 4 in G major, Op. 58: 3. Rondo: Vivace
Music CD 3
  1. Piano Concerto No. 5 in E flat major ('Emperor'), Op. 73: 1. Allegro
  2. Piano Concerto No. 5 in E flat major ('Emperor'), Op. 73: 2. Adagio un poco mosso
  3. Piano Concerto No. 5 in E flat major ('Emperor'), Op. 73: 3. Rondo: Allegro ma non troppo
  4. Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op. 27/2: 1. Adagio sostenuto
  5. Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op. 27/2: 2. Allegretto
  6. Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op. 27/2: 3. Presto agitato
Music CD 4
  1. Piano Sonata No. 21 in C major ('Waldstein'), Op. 53: 1. Allegro con brio
  2. Piano Sonata No. 21 in C major ('Waldstein'), Op. 53: 2. Introduzione: Molto adagio -
  3. Piano Sonata No. 21 in C major ('Waldstein'), Op. 53: 3. Rondo: Allegretto moderato - Prestissimo
  4. Variations (32) on an original theme for piano in C minor, WoO 80
  5. Quintet for piano, oboe, clarinet, horn & bassoon in E flat major, Op. 16: 1. Grave - Allegro ma non troppo
  6. Quintet for piano, oboe, clarinet, horn & bassoon in E flat major, Op. 16: 2. Andante cantabile
  7. Quintet for piano, oboe, clarinet, horn & bassoon in E flat major, Op. 16: 3. Rondo: Allegro ma non troppo

Music reviews of Beethoven: The Piano Concertos; 5 Sonatas; 2 Rondos

Music Review: Some excellent sonatas, a fine "Emperor," and superb Quintet are the standouts
Rating: 4 Stars

I've been assured, by a raft of Unhelpfuls and snarky comments, that my reviews of Radu Lupu are far off the mark. I have not been a fan of the Romanian pianist, now 64, who made the bulk of his recordings decades ago. I felt that I should return to them now that Decca is commemorating their long-standing relationship with Lupu by gathering hs discography into mid-priced box sets. Here we have the five Beethoven piano concertos filled out with three sonatas, two rondos, a set of variations, and the early quintet for piano and winds.

The concertos with Mehta and the Israel Phil. date from the late Seventies/early Eighties and come in excellent sound, with the piano miked close up. Concerto #1 reminded me immediately of my doubts about Lupu. He produces an even, elegant tone, but everything is so underplayed that I am baffled why anyone would admire it. It's as if the pianist wants to erase himself form the picture by a superhuman ct of restraint. Another admired pianist, Andras Schiff, tends to mirror this approach. The finale is springy and vivacious, however; it's the saving grace of the performance.

I quickly realized that a detailed review of every concerto might seem like rubbing salt in the wound. There are good impressions. The Adagio of Concerto #2 is elegantly handled, and the finale is bouncy and exuberant. Throughout Lupu is assured and capable of a pearlescent tone even in the fastest passagework. Mehta has generally excelled as an accompanist, but here he offers almost no ideas. Instead of being an equal partner, he is content to provide a comfortable cushion of orchestra sound. This becomes more damaging as the concertos become greater. The third has a dull, cautious first movement on the part of both soloist and conductor. I much prefer to hear this work as a bold precursor to the Emperor Cto. The most enjoyable movements, as in the two earlier works, is the buoyant finale.

Those who love tis kind of playing, praised by the Gramophone as "beguilingly elegant," will feel differently of course. The sight of Lupu in concert sounds ntriguing: "Seated on an upright chair and bearded like some Victorian sage he addressed the keyboard with a rare blend of intelligence and sensibility." Back to the matter at hand, Mehta gives us the long orchestral introduction to the Fourth Cto. in workmanlike fashion, after which Lupu's solo part is done n a "sweetly poetic" fashion -- I can't disagree with the Gramophone reviewer's words. But must Lupu be sweetly poetic in every bar? It wouldn't hurt to hear some temperament. The finale, where Mehta does little with the orchestral part, finds Lupu spinning more strands of pearls; it's very elegant, almost miniaturized at times. Maybe it's this ultra finesse that so enthuses his fans. That seems to be a good bet, since the Gramophone praises Lupu's Beethoven for being "much more ethereal, much more the visionary dreamer".

Since they were done over a seven-year period, these recordings are not baked in the same oven. It's good to report that Mehta is robust and alert in the Emperor Cto., and Lupu gets off to a sweeping start. Here the balance between his innate elegance and the heroic nature of the music is well balanced. It's not exciting or visceral, but it's involving, which counts for a lot. Every bar is thought through; nothing is casual. This performance is the best of the lot, and if you like kindred readings by Brendel and Perahia, Lupu's version will appeal to you.

Actually, for me Lupu becomes more interesting in the three sonatas -- the Mooonlight, Pathetique, and Waldstein. He's enough of a stylist, and so obviously thoughtful, that each one kept my attention. If I were his manager, I'd offer the first movement of the Moonlight as a demo to show how beautifully restrained playing can work when it is also this sensitive. There's so much unexpected strength elsewhere that I wondered why Lupu didn't call upon it more in the concertos, but the real gem of this 4-CD set is the last item, the Quintet for Piano and Winds, which gets a reading that feels impeccable in every way, including the magnificent wind playing from four outstanding London soloists -- it is well worth seeking out on its own.
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