Pentatone presents in its Remastered Classics series another album where musical titans are at work. No less than Chilean pianist Claudio Arrau, generally considered to be one of the greatest pianists of the twentieth century. Alongside Arrau, Belgain violinist Arthur Grumiaux, the most important representative of the Franco-Belgian violin school as well as a truly great violin virtuoso, joined forces in Amsterdam in 1973 to record Beethoven piano and violin sonatas. No composer before Beethoven treated the two instruments as equally as he did in his sonatas for piano and violin. This unprecedented integration is magnificently revealed by Arrau and Grumiaux on this newly remastered multi-channel recording.

The Spring Sonata...receives a sunlit, unhurried account that I enjoy. However, the first movement starts nearer Allegretto than the marked Allegro and the artists then move forward in the vigorous second subject, slowing down again for the exposition repeat. Oddly enough, even the Scherzo is a bit held back, with elan firmly held in check. But this gentle performance is all of a piece and Zukerman's mastery is evident throughout... [T]his sensitive performance [of the Kreutzer Sonata] has much to offer...

-- Gramophone [3/1994]

As the probably apocryphal recipient of a kiss from the ailing and elderly Beethoven, Franz Liszt was celebrated by his contemporaries as ‘the’ successor, the keeper of the flame, no less than several other composers equally deserving of that accolade from Schubert and Schumann to Brahms and Wagner. The connection between Liszt and Beethoven, however, is particularly strong in the medium of the piano, through which they spoke to the audiences of their time with a voice of untrammelled authority and vigor. Liszt’s project to transcribe the nine symphonies of Beethoven occupied him, on and off, for almost three decades. His aim was not merely to compress all the crucial instrumental voices within the compass of a single keyboard and ten fingers. More ambitiously, his transcriptions strive to ‘grasp the spirit of the work as well as the letter’, as he indicated in a preface to the collection. The Liszt/Beethoven Fifth is certainly no less bold, striking or relentless a path-breaking piece than the original, perhaps especially suited to the piano medium by virtue of its first movement’s defining and intrinsically percussive nature, which has attracted interpreters of the calibre of Glenn Gould and Paul Badura-Skoda. Now the marvelously gifted Leonardo Pierdomenico joins their ranks, with a critically acclaimed Piano Classics debut of.’ little-known Liszt already under his belt: ‘a stunning debut’ according to Gramophone. ‘Would that half the seasoned Lisztians I know had Pierdomenico’s keen ear for stylistic differentiation within this half-century of repertory. His highly developed technique and cultivated sound, both adaptable to a variety of affects, are wedded to those twin essentials for artistic Liszt-playing: imagination combined with thoroughgoing, scrupulous musicality.

I didn't at all take to Fleisher's account of Beethoven No. 3, but I must say that this is a most impressive and exciting account of the Emperor, aided and abetted by a wonderful accompaniment from Szell and his orchestra—and, I mustn't forget, by a most intelligently balanced recording.

Fleisher plays the first movement with splendid brio and the dash with which he gives out the opening flourishes is equalled by the orchestra's attack and energy when it starts the tutti. In one passage of brilliant semiquavers he tends to hurry very slightly, both times it comes, but in general his rhythm is excellent. There are, too, passages of most lovely liquid playing, a kind of brush of quiet sound, beautiful not only as sound but admirable in that they let woodwind solos come through without any forcing by the players. Fleisher is obviously always aware of what's going on in the orchestra and knows when he should be taking part in chamber music, rather than always holding the front of the stage. He does indulge in a wide range of speeds but not, I suppose, more than is usually done. The slow movement is played simply by both soloist and orchestra, as it should be— yet it's a difficult thing to play something so apparently simply but make it as moving as it is here.

At the very end of the movement (bar 80) you may be surprised to hear the strings play a long crotchet, arco, instead of the pizzicato to which we are all so used (which starts only at the last quaver of the bar). I asked Denis Matthews (always a mine of Beethoven information) about this and he told me he had played the concerto with Szell and was quite astonished at rehearsal when the expected 'plonk' from the strings didn't happen. Szell told him that Beethoven's autograph has the `pizz' written over the rests in the middle of the bar: and I now see that the preface in the Eulenburg miniature score states the same thing (despite which, the word is printed at the start of the bar!). This is not a trivial point, for it occurs, of course, at just about the most magical moment of the whole concerto and I do think that the long, grave, B flat from the strings is far more apt than the rather disturbing 'plonk' which emphasizes Beethoven's change from B to B flat in the wrong way.

The finale goes splendidly all through and I only don't like Fleisher's mannered playing of part of the main theme each time. I refer to the bars marked espressivo, which would appear to suggest something other than his jerky delivery of the right hand phrases. But this is a small point and there is no doubt that this is the sort of performance that will make you enjoy the music afresh, for the playing all through the concerto is both zestful and perceptive; Szell's contribution is an added source of pleasure—and the admirable engineering complements the players' artistry.

-- Gramophone [1/1966, reviewing the original LP release of the Emperor Concerto]

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The apologies invariably made for Beethoven's Triple Concerto seem to have an effect on performances. I have rarely, if ever, known one which did not in some respect carry an apology with it, and I have rarely, if ever, known one which treated the work in the strong bravura way which makes for success in the Emperor or violin concertos. But here is just such a performance, and it makes one glory in what Beethoven did achieve in the work.

The scale of the work as conceived by Stern, Rose and Istomin is quite different from that of the rival performances on record, however enjoyable. The precision and stylishness of Schneiderhan, Fournier and Anda on DGG make for an eighteenthcentury manner in the outer movements, particularly the first. Some may well continue to prefer it, and technically the balance with the orchestra is better than on the new CBS disc, but the newly roused echoes of other Beethoven concertos place the Stern/ Rose/Istomin performance in the right period. It is after all a produce of the Fidelio years, the years which also produced the Fourth Piano Concerto, the Violin Concerto and the Symphonies Nos. 4 to 6. It is possible to regard the formalism of the outer movements, their conscientious balance of thematic statements by each of the three soloists in turn, as a return to eighteenth-century practice, but the sheer size speaks rather of a really grand manner. And if the thematic material is more bald and less striking than that in other Beethoven concertos (at least in the first movement) there was a practical need with three soloists to keep ideas short.

In achieving a sense of size Stern, Rose and Istomin reveal their own stature in the relaxation of the playing. Lesser players would either screw up the tension or become ponderous, but these three over and over again convey the joy of their playing: the relaxed lilt of the second subject, Rose's natural warmth in the slow movement enunciation, the whole of the final Rondo Polacca. Not only has the main Polacca theme tremendous verve, the middle episode, when the `yatta-tah-ta-tah-ta' rhythm emerges on horn and lower woodwind, has a unique tang of East European music. Stern obviously takes the idea of a Polacca literally and exaggerates the first beat in each dactyllic phrase, giving a real bounce to the music, and he is matched by his colleagues.

Then the semiquaver allegro reprise of the main theme towards the end is taken very fast and very clear, the result extraordinarily exciting. You have only to compare the DGG performance, very fast too and excellent in its way, to realize why Stern's, Rose's and Istomin's playing is not merely vital but great. Equally exciting are the furious florid dialogues between violin and 'cello in the passage-work of first and last movements. All three soloists are masterly in varying the tension, in shaping towards climaxes, and Ormandy draws from the Philadelphia Orchestra yet another of his really full-blooded accompaniments. In relation to the soloists the orchestra may seem a little backward, but the salient tuttis burst out with great effect, to match the scale of the soloists' playing. The nearness of the soloists does of course make it hard for them to sound as though they are playing really softly, and initial sotto voce entries in the finale are too loud.

In my detailed comparisons I have occasionally found points in which rivals score over Stern, Rose and Istomin, and the other CBS version has Serkin in marvellous form actually dominating the performance from the least prominent solo part, the non-virtuoso piano role originally devised for the Archduke Rudolf. But no minor shortcomings can alter the positive merits of what could well come to be regarded as a classic record.

-- Gramophone [10/1965, reviewing the original LP release of the Triple Concerto]

In August 2020, Herbert Blomstedt made his debut with the Lucerne Festival Orchestra. You could hardly tell that the maestro had celebrated his 93rd birthday only a month prior for he continuously exudes vitality, awareness, and curiosity. “I’m in love with music,” says Blomstedt, who views his profession as a kind of joie de vivre. Together with the Lucerne Festival Orchestra and Martha Argerich he revealed just what this joy sounds like with Beethoven’s Piano Concerto No. 1 – the work that marked Argerich’s stage debut in 1949 - and Symphonies Nos. 2 and 3, the famous Eroica. Recorded live at the Concert Hall of KKL Luzern, August 2020.

The late quartets are among the last works that Beethoven completed, and are considered by many as the pinnacle of his achievements as a composer, and among the greatest compositions of all time. The Russian prince Nikolai Galitzin wrote to Beethoven in November 1822, requesting ‘one, two or three new quartets, for which labor I will be glad to pay you what you think proper’. This commission resulted in the Quartets, Opp. 127, 132, and 130, after which he went on to write Quartets, Opp. 131 and 135,and then the substitute final movement for Op. 130, which replaced the Große Fugue that originally had ended that piece –and which Stravinsky described as ‘an absolutely contemporary piece of music that will be contemporary forever’. In this recording the Brodsky Quartet has chosen to include (emulating several other quartets) the Quartet,Op.95. Although this piece significantly pre-dates the others, in terms of innovation and compositional style it points strongly towards the later works. Since their formation in 1972, the Brodsky Quartet has earned –and maintained –a worldwide reputation for excellence and innovation. Exclusive Chandos recording artists, the Brodsky Quartet has won numerous awards and accolades, and remains committed to an extensive programme of educational work in addition to their hectic performing and recording schedules.

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REVIEW:

The Brodsky Quartet certainly have their own distinctive virtues, and the highlights reach very high indeed. Technically, these performances are immaculate, so it all comes down to a question of personal taste. To me, the account of the A minor Quartet Op. 132 is the outstanding interpretation here with its serene Adagio, the Heiliger Dankgesang, taken as slowly as anyone could dare, and the intensity of its finale ratcheted up with perfect sureness. As in any cycle of these inexhaustible works, everyone has to pick and choose what they admire, but there is no doubting that these performances of some of the greatest music ever written are to be taken seriously.

– Guardian (Andrew Clements) - 1/2020

Ludwig van Beethoven's devotion to wind musical instruments dates already from his young life in Bonn, as proved from the correspondence between his teacher Josef Haydn and the Elector of Bonn Maximilian Franz: here the composition of his Parthia dans un concert, or wind Octet op. 103 is mentioned as a work written before his arrival in Vienna and therefore as the earliest piece he wrote for winds. The remarkable Rondino for the same instruments, using the recently invented mutes for the horns, might have been part of the same Parthia in an earlier version. Once in Vienna, Beethoven was impressed by an ensemble consisting of just 2 oboes and cor anglais and wrote for them the extended and virtuosic Terzetto op. 87 in 1794 and the Variations on Mozart’s Don Giovanni in 1796. Also from 1796, a quintet with the unusual scoring of one oboe, three horns and bassoon survives incomplete. The picture of Beethoven’s output for winds wouldn’t be complete without his military music, commissioned around the year 1810. According to the Austrian tradition, with remote Turkish influence- the so-called janissary music- the scoring here includes also trumpets, contrabassoon and a rich variety of percussion instruments.

George Thomson of Edinburgh, a notable promoter of Scottish music, encouraged settings of his nation’s folk songs. In particular, he found a rich source of arrangements in Vienna, where he commissioned first Haydn and then Beethoven to set a large sequence of poems, including those of Robert Burns and Sir Walter Scott. Thomson envisaged simple works, agreeable to amateurs, but Beethoven found it impossible to compose within such limitations and his settings, which include Irish and Welsh songs, with the accompaniment of strings and piano, have proved perennially popular. Pianist Bernadette Bartos is the featured pianist of the Beethoven Liederseries, Vol. 1 (8.574071). Her playing was described as ‘fairly lively and sensitive’ by The Art Music Lounge. Bartos has performed at venues across Europe, including the Wiener Musikverein and the Wiener Konzerthaus. Her debut at Regent Hall, London gained her First Prize in the Beethoven Chamber Music Competition of the Beethoven Piano Society of Europe. German soprano Paula Sophie Bohnetmade her operatic debut in 2013with the role of Barbarina in Le nozze di Figaro. She was the recipient of the prestigious Giovanni Omodeo Scholarship and has been awarded several prizes from organizations such as the Österreichischen Bundesministerium für Bildung, Wissenschaft und Forschung for her Master’s degree. Austrian tenor Daniel Johannsen studied with Lieder specialists such as Robert Holl, Dietrich Fischer-Dieskau and Christa Ludwig, and thus approaches art song performance with great affection. Along with the great Schubert and Schumann cycles, his repertoire includes more than 300settings, which he has performed with pianists Graham Johnson, Charles Spences and Helmut Deutsch, among others.

REVIEWS:
New York Times (Publisher) (7/30/00, p.30) - "...Bernstein approached Beethoven with passionate conviction. Here, eloquent phrasing, lithe textures and a sense of inevitability result in model performances..."

Classical Music

Praised by critics and audiences for her imaginative programming and compelling performances, pianist May Phang enjoys discovering and performing a wide range of repertoire from Bach and Liszt to Libby Larsen and Alexina Louie. Described as “vibrant”, “colorful”, and “evocative,” May strives to deeply understand and bring fresh insights into the masterpieces of composers such as Beethoven and Chopin while equally committed to discovering and championing the works of today’s living composers. She premiered the works of Armando Bayolo, Jaroslaw Golembiowski and Geoffrey Gordon, and also worked with composers such as Aaron Jay Kernis and Joan Tower. She brings all of this to her interpretation of the Diabelli Variations.

Rudolf Serkin (1903-1991) was one of the great Beethoven exponents of the 20th century. Donal Henahan wrote of a performance given by Serkin of the 'Diabelli' in the NY Times: 'Rudolk Serkin's...approach to music and his instrument is devout, all but priestly, and his audience attends to him with the seriousness of a congregation that expects nothing less than high revelation.'

Previous installments of the Beethoven sonata cycle from Frank Peter Zimmermann and Martin Helmchen have met with wide acclaim. Described as ‘conversations by a perfect instrumental pairing’ in BBC Music Magazine, the albums have received a Choc in Classica and the recommendation of German website klassik.com, respectively. This the third and final volume brings together Beethoven's last three works in the genre, composed between 1801 and 1812. The center-piece is the ninth sonata, the famed ‘Kreutzer Sonata’. 

Tamsin Waley-Cohen and Huw Watkins return with the start of a Beethoven Violin Sonata Cycle – here recording the 1st, 5th and 8th sonatas. Gramophone Magazine said “The heart gives a little leap at the prospect of...a duo as engaging and intelligent as Tamsin Waley-Cohen and Huw Watkins.” This cycle is sure to be one of the highlights of Signum’s year, as well as of Beethoven 250. Beethoven’s twelve violin sonatas add up to a comprehensive exploration of the possibilities and potential of writing for the two instruments on equal terms – possibilities that he was ideally placed to understand. The three sonatas on this recording are waypoints on a journey, crafted by a composer who was both violinist and pianist, and who never ceased exploring the practical possibilities of the instruments for which he wrote.

REVIEW:

Their complementary personalities meet most harmoniously in the Spring Sonata’s Adagio, where Watkins draws an appealing, fortepiano-like resonance from the piano and Waley-Cohen’s phrasing taps the music’s pastoral roots. Each of the three sonatas inhabits its own costume, made to measure.

–Gramophone (Editor's Choice, August 2020)

BEETHOVEN: TRIPLE CONCERTO B