Beethoven's most famous piano trio is dedicated to the Archduke Rudolph, himself an accomplished musician. The importance of Rudolph as a patron can be seen in the number of other prominent works that Beethoven dedicated to him. Beethoven started work on the trio in the second half of 1810, but much of the work was done in March of the next year. Some descriptions give an inkling of how novel a composition this was perceived to be, and a young Ignaz Moscheles reported: "In the case of how many compositions is the word 'new' misapplied! But never in Beethoven's, and least of all in this, which again is full of originality. "A year after the Archduke, Beethoven wrote another piano trio in B-flat major. The autograph dates it 26 June 1812, but besides the similarity in key it is different in every way. It consists of a single movement, was not published during the composer's lifetime, and was written to encourage the nine-year-old Maximiliane Brentano in her piano playing. The Trio in E-flat WoO 38 might have been once intended to be part of op. 1 and although there are no extant sketches to support this, the style of the composition makes a dating of around 1790-1 plausible. The trio contains some surprising twists and turns, particularly in it's lengthy codas. The last piece for piano trio that Beethoven published during his lifetime has one of the longest compositional histories of all of his works. It consists of a long introduction, followed by ten variations on 'Ich bin der Schneider Kakadu' from Wilhelm M�ller's popular opera Die Schwestern von Prag. The first version of this piece was probably composed between 1801 and 1803, but it was substantially revised in 1816, and most likely further revised before publication in 1824. This final trio therefore includes elements from Beethoven's early, middle, and late styles.

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Pianist Angela Brownridge made her concert debut at Wigmore Hall when she was only twelve years old. Since then she has toured the world, recorded three albums prior to this one, and has performed at the BOZAR Brussels, Konzerthaus Berlin, and Concertgebouw A’dam. Brownridge has been compared to some of the legends, including Rachmaninov and Cherkasky. The New York Times called her “one of the world’s finest pianists” and a “true genius… Her performances were passionate, rhapsodic, and totally compelling. She is a marvelously exciting artist, and a wonderfully assertive pianist with a strong sense of musical structure.” For this release, Brownridge has chosen staples in the piano repertoire, Ludwig van Beethoven’s Piano Sonatas no.’s 3, 23, and 30. Her interpretation of no. 23, “Apassionata,” has garnered her critical accolades.

Second volume in the ongoing series of Beethoven's Piano Concertos with Hannes Minnaar and Jan Willem de Vriend conducting the Netherlands Symphony Orchestra. Surely among the most interesting and sought-after pianists of his generation, Hannes Minnaar received international acclaim after winning prizes at the Queen Elisabeth Competition (3rd Prize) and the Geneva International Music Competition (2nd Prize). Volume one of this series received raves from Gramophone, Fanfare, Crescendo, Classical Candor, and more.

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The present release is a set with which Challenge Classics intends to make its contribution to the celebrations for the 250th anniversary of the birth of Ludwig van Beethoven. It is a unique and completely original collection in the panorama of today’s discography, as it contains the complete corpus of the symphonies, as well as all the works for (instrumental) soloist and orchestra, i.e. all the concertos. All the works recorded here are directed by a single conductor, Jan Willem de Vriend, at the head of a single orchestra, the Netherlands Symphony Orchestra. It is clear that this aspect provides a unity, an organic force and therefore an authority that other collections featuring different directors cannot boast. Finally, all the recordings presented here were curated by Bert van der Wolf of Northstar Recording, one of the most innovative and capable sound engineers of the classic milieu.

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Also available: Beethoven: Piano Sonatas Vol 1 / Bavouzet and Beethoven: Piano Sonatas Vol 3 / Bavouzet



The virtues of the first three-CD set that launched Jean Efflam-Bavouzet’s Beethoven sonata cycle for Chandos largely prevail throughout Volume 2. Like Richard Goode and Claude Frank, Bavouzet’s lean, pinpointed sonority, rhythmic directness, freedom from mannerisms, and strong linear awareness convey both a strong sense of classical style and expressive economy. Bavouzet’s dynamic range is not particularly large, yet his subtle variety of articulations, thoughtful accentuation, and very discreet use of the sustain pedal give the playing a distinctive profile that recalls other intimate, Apollonian Beethoven stylists like Wilhelm Kempff, Walter Gieseking, and Robert Casadesus. Moreover, Bavouzet brings more tension and fire to his interpretations than those of his label mate Louis Lortie.

If Bavouzet falls short of Stewart Goodyear’s brash audacity and risk taking, at least this pianist avoids the occasional fussiness we hear from Paul Lewis and András Schiff, or the often faceless perfection of Mari Kodama, among recent Beethoven cycles. The opera buffa-like character of Op. 22’s Allegro con brio comes out through Bavouzet’s minuscule stretching of certain rests and note placement of cadences. The steady, slightly muted Adagio leads gracious, simply shaped third and fourth movements that nevertheless sound a trifle bland next to the Pollini remake’s heightened left-hand details.

A soft-grained start to the Op. 26 opening movement variations does not prepare you for the minor-key variation’s sudden intensity, or for the Scherzo’s forceful detached articulations. The Funeral March is as focused and rock-steady as one can wish, yet never rigid, while subtle accents and dynamic hairpins gently illuminate the toccata-like Allegro’s cross-rhythmic phrasings. I like Bavouzet’s long-lined animation in Op. 27 No. 1’s opening Andante theme, but the sudden quick episode’s barrage of notes loses impact when the pianist makes slight ritards at the end of phrases. While the second movement moves slower than what I take Beethoven’s Allegro molto e vivace to represent, Bavouzet’s steady momentum wins the day.

The “Moonlight” Adagio sostenuto proceeds at an ideal “walking” tempo, with bass notes, lilting arpeggiated accompaniment, and right-hand melody voiced with harmonious transparency. The Presto agitato is slightly held back, yet its carefully gauged climaxes and textural clarity make up for the droopy, foursquare Allegretto. The “Pastorale” receives another clear and transparent reading that somehow leaves a plain and matter-of-fact impression when compared to the similar yet more imaginatively nuanced account by recent contender Jonathan Biss–yet sparks eventually fly in the Rondo, capped by Bavouzet’s buoyant prance through its treacherous final pages. He plays the two little Op. 49 works well, if not with anything to displace more characterful and affectionate traversals (Stephen Kovacevich, for example).

Bavouzet’s “Waldstein” evokes the classicism, bracing rhythm, and refinement of Solomon’s great 1950s EMI recording, down to an ever-so-slight reluctance to take the Rondo’s controversial long pedal markings on faith. A lovely, understated Andante Favori makes for an apt encore, in that it was Beethoven’s original “Waldstein” slow movement.

I save the three Op. 31 sonatas for last, because they contain Bavouzet’s most consistently inspired and satisfying work here. Few pianists sustain the G major sonata Adagio grazioso’s detached left-hand accompaniment and intricate right-hand writing to Bavouzet’s slow, concentrated effect. The “Tempest” abounds with vivacious linear interplay in the first movement, while minute gradations of touch and emphasis bring new life to the Rondo’s galloping accompaniment. Also notice Bavouzet’s sardonic, gruff handling of the woodwind-like keyboard writing in Op. 31 No. 3’s Scherzo, and the deftly contoured (if not quite “con fuoco”) Presto finale. In short, Volume 2’s few disappointments should not detract from its considerable felicities, and I look forward to this cycle’s next installment.

-- Jed Distler, ClassicsToday.com

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The four releases in the Wiener Symphoniker's first full recorded Beethoven's symphony cycle met with universal acclaim from critics and audiences alike. Now the fifth part, in the form of the Symphony No. 9, is being released. The album is part of the Wiener Symphoniker's Road to Beethoven, a project to prepare for the year 2020, the 250th anniversary of the composer, a towering father-figure for classical music. With this new release, the Wiener Symphoniker are hoping to follow up on the great success of their four albums in the cycle. Both the first release with Symphonies Nos. 1 and 3 and the second with Nos. 4 and 5 have been picked as "album of the month" by various international music magazines. The latest release Nos. 6 and 8 was awarded in France for Troph�es Classique Radio. Based on these releases, the British Gramophone magazine nominated the orchestra for "Orchestra of the Year 2018". In particular, the magazine praised Jordan's approach of combining the classic Viennese sound with a more modern, leaner interpretation, original tempos and insights from historically informed performance. For Jordan, the content of the music was paramount. His goal was not to revere Beethoven as a monument but rather to present him in a more "natural, direct and personal" way.

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This release is the continuation of the Wiener Symphoniker's Road to Beethoven project, an undertaking in preparation of the 250th anniversary of the birth of the Viennese by choice and patriarch of classical music in 2020. Following the huge success of the respective releases of the cycle so far, the expectations are high indeed. The third part featuring Symphonies No. 2 and 7 received numerous accolades and ranked high in the annual best lists of international critics. The German classical music magazine Concerti, for instance, praised: "There, Philippe Jordan with the Wiener Symphoniker succeeded in creating something amazing: The symbiosis of the fine Viennese sound and the directness and transparency of historical performance practice, dynamically flexible and driven by emphasis." The Wiener Symphoniker wrote music history with the premieres of works by Bruckner, Ravel and Sch�nberg. Under the direction of such illustrious conductors as Wilhelm Furtw�ngler, Herbert von Karajan, Carlo Maria Giulini or Georges Pr�tre, it gained worldwide fame for it's Viennese sound style. In light of this more than hundred-year magnificent history, it is all the more astonishing that the Orchestra has never so far recorded Beethoven's nine symphonies, which are often described as the peak of the symphonic repertoire. This gap in the Orchestra's discography has been in the process of being closed since autumn 2017: The Orchestra is releasing all nine symphonies of the great Viennese by choice at half-yearly intervals on a total of five albums. The whole cycle will then be available on the 250th anniversary of Beethoven's birth in 2020. They were recorded live under the direction of Music Director Philippe Jordan in the Golden Hall of the Musikverein during an acclaimed cycle in spring/summer 2017.