Beethoven: Piano Concerto No. 1 in C Major, Op. 15

“There's a great deal of pleasure to be had out of these performances.” The Guardian, 5th June 2009 ****

“The orchestra’s contribution is exceptional. Bland playing appears beyond Fischer’s troops: their East European colours are individual, their phrasing constantly alert, and their union with Goode total. Listen how soloist and orchestra handle each other in the Fourth Concerto’s battles and interruptions — possibly the cycle’s finest performance. Throughout, the recording is warm and natural. Buy with confidence.” The Times, 15th May 2009 *****

“Goode's artistry is lucid and assured. Fischer's fiery extroversion provides exciting contrast.” The Observer, 10th May 2009

“This is not a set that immediately fires the imagination, nor is it in all respects a perfectly 'finished' production. That said, it contains fine accounts of the elusive Third Concerto and the imperturbably splendid Fifth.
The two early concertos receive disappointing performances. Though Fischer and his Budapest players provide brisk, no-nonsense support, soloist Richard Goode appears to be in the grip of a self-denying ordinance, happy to provide an accurate tally of the notes but not much inclined to report upon them. Narrowness of dynamic and expressive range is complemented by a similar narrowness of dramatic vision.
Beethoven Orchestral beethoven the five piano concertos – in brief Daniel Barenboim; New Philharmonia / Otto Klemperer EMI 763360-2 B6D Youth and experience combine for a set of the concertos that constantly reveals new facets of the works. Klemperer draws playing of fierce commitment from the orchestra. The coupling is the Choral Fantasy. Pierre-Laurent Aimard; COE / Nikolaus Harnoncourt Teldec 0927-47334-2 B666D An inspirational set with a truly impressive freshness and spontaneity (partly due to the set's having been recorded live). This is very much a Beethoven set for the new century.
Maurizio Pollini; BPO / Claudio Abbado DG 439 770-2GH3 FD Pollini's second cycle (the first with the VPO remains available) is a fine achievement with Abbado a sympathetic partner. Pollini may shy away from Beethoven's jokes but he thrives on the majesty and grandeur.
Murray Perahia: Concertgebouw Orchestra / Bernard Haitink Sony Classical 07464 44575-2 F66D Limpid, spontaneous and wonderfully poetic, Perahia is a magnificent interpreter. With glorious sound, this is one of the most 'complete' of all concerto cycles.
Alfred Brendel; VPO / Simon Rattle Philips 462 781-2PH3 S6D Two musicians completely in tune with each and an orchestra that really understands this music makes for a richly rewarding encounter.
The slow movements are magnificent.
A set of probing intellectual rigour married to years of Beethoven experience.
Wilhelm Kempff; BPO / Paul van Kempen h DG 474 024-2GOM5 S66D A classic set (Kempff's first) withstands the passing of years remarkably well. Kempff's lucid yet poetc way with Beethoven is enormously satisfying. There's a real sense of delight here. (It forms part of a set focusing on Kempff's complete concerto recordings for DG.) Radu Lupu; Israel PO / Zubin Mehta Decca d 475 4065DC4 (4h 50' · ADD) M6D A new recording from Lupu seems unlikely so all the more reason to cherish these supreme interpretations form the 1970s.
Lupu's lyricism is illustrated on every page and he brings myriad detail to these very fine performances. They form part of four-disc Beethoven set that also includes sonatas and a superb Quintet for Piano and Winds.
In the Third Concerto the clouds lift. Here is freshness and attack, real poetry in the first movement development, a recapitulation that matters and a superbly calibrated account of Beethoven's built-in cadenza. In the finale of the Third, there is nothing daemonic. Rather, there is a sense of an uncomplicated dance to the music of time. Richard Goode's way with the opening of the Fourth Concerto also has a somewhat balletic feel to it. His reading has a gracious, clean-cut quality which deserves a more aurally sensitive, less matter-of-fact accompaniment than it receives here from the Budapest players. In the slow movement, the orchestral summonses are given a strangely militaristic character.
After which, everything comes right in the Fifth Concerto. This is a straightforward performance of the old school, with clean symphonic lines and classy articulation from the soloist; one of those readings of the Emperor that manages to combine lightness of spirit with a proper sense of heroic endeavour.
The piano sound, dull-toned in the two early concertos, is brighter and more robust in the later works without being absolutely in the first flight of excellence.” Gramophone Classical Music Guide, 2010

“Pletnev’s pianistic mastery remains breathtaking” The Telegraph

“first-class in every way...With consistently clean, rhythmic playing, [Zacharias] gives fresh, bright performances...[the Trio's] rhythmic flair prompts Masur in turn to give one of his most sparkling performances on record.” Penguin Guide, 2010 edition ***

“the sound is excellent: full, warm and natural. It presents a deeply satisfying series of performances. Serkin brings those moments of total magic which are the mark of live performances...The accompaniments have comparable distinction - Ozawa has never sounded more spontaneous on record.” Penguin Guide, 2010 edition ***