- Piano Concerto No.1 in C, Op.15
- Piano Concerto No.2 in B flat, Op.19
- Piano Concerto No.3 in C minor, Op.37
- Piano Concerto No.4 in G, Op.58
- Piano Concerto No.5 in E flat, Op.73 (Emperor)
NBC Symphony Orchestra conducted by Arturo Toscanini (recorded 1945)
NBC Symphony Orchestra conducted by Vladimir Golschmann (1946)
Paris Conservatoire Orchestra conducted by Felix Weingartner (1939)
NBC Symphony Orchestra conducted by Arturo Toscanini (1944)
Walter Gieseking (piano)
Saxon State Orchestra (Dresden) conducted by Karl Böhm (1939)
London Philharmonic Orchestra conducted by Carlo Zecchi (1947)
New York Philharmonic Orchestra conducted by Bruno Walter (1941)
Philharmonia Orchestra conducted by Alceo Galliera (1947)
Reviewed by: Ying Chang
Reviewed: May 2002
CD No: ANDANTE 1996-1999 (4 CDs)
As for this Beethoven concerto set, there are certainly treasures here. William Kapell’s tragically short career makes any recording of his valuable; he is prized for being heroic and poetic as well as technically immaculate. In his hands No.2 emerges as weighty, far less Mozartian than we are used to. Marguerite Long, famous as an interpreter of Faurè, turns in an unexpectedly Teutonic performance of No.3. Rubinstein’s typically lyrical rendition is the superior; the slow movement is especially yielding and romantically delivered.
Clara Haskil’s pellucid, enchanted and ego-less account of the Fourth Concerto completely puts Gieseking’s, on the same disc, in the shade. Although Gieseking’s recording with Galliera is a classic, his playing here is foursquare and unimaginative compared to the shimmer and lightness of Haskil. The two ’Emperors’ also make an instructive comparison – Schnabel, as poetic as ever, against the more muscular Serkin. The least familiar name will be Ania Dorfmann, yet another Russian-Ukrainian, who left for France at the time of the Russian Revolution, and later recorded extensively for RCA Victor. The performance of No.1 is straightforward but effective, demonstrably Russian despite Dorfmann’s early emigration.
This set is more a synoptic survey of a moment in Beethoven concerto performance-history than something to change our views on an artist or this particular part of the repertoire. Whether to duplicate the same concerto is a good idea is debatable. It should also be noted that other CD transfers exist of these recordings. This is common practice for historic re-issues, but it may well limit the commercial success of this set to those who already have a specialist interest. Andante may well be at odds with its own ambitions, although collectors might note that these transfers are excellent and possibly better than hitherto.
These CDs will appeal to serious followers of the history of pianism, and much painstaking work has clearly gone into the choice of recording and the production of the CDs. It is also an admirable attempt in the struggle to broaden the appeal of classical music, and I wish it every success.