Beethoven's Piano Concerto No 5
Beethoven's Piano Concerto No 5
Gramophone Choice
Piano Concerto 5 ‘Emperor’ (with No 4)
Till Fellner (pf) Montreal Symphony Orchestra / Kent Nagano
ECM New Series 476 3315 (73’ · DDD) Buy from Amazon
Till Fellner, always among the more quietly celebrated pianists, together with Kent Nagano and the Montreal SO gives us two of the most supremely satisfying performances of both these concertos on record. This is a dream partnership with soloist and conductor working hand-in-glove, and even when you conjure with so many glorious names in such core repertoire (from Schnabel to Lupu) you will rarely hear playing of such an enviable, unimpeded musical grace and fluency.
Fellner surely belongs among that elite who Charles Rosen so memorably defined as those who, while they appear to do nothing, achieve everything. His playing is subtly rather than ostentatiously coloured and inflected, and if others might be thought more vivid or personal, Fellner’s and Nagano’s ease and naturalness always allow Beethoven his own voice. Fellner’s still small voice of calm in the Fourth Concerto’s central Andante con moto is one among many glories. Balance and sound are pleasingly natural and this memorable issue is crowned with a short but intriguing essay by Paul Griffiths.
Additional Recommendations
Piano Concerto No 5, ‘Emperor’. Choral Fantasia. Meeresstille und glückliche Fahrt
Yefim Bronfman (pf) Swiss Chamber Choir; Tonhalle Orchestra, Zürich / David Zinman
Arte Nova 82876 82585-2 (64’ · DDD) Buy from Amazon
Rather than opt for superficial barnstorming, Yefim Bronfman and David Zinman offer us a discreet, subtly voiced and above all durable Emperor, that rewards listening with increasing musical dividends. Bronfman plays with a light, precise though never brittle touch, always phrasing elegantly and dipping his tone whenever important instrumental lines need to be heard. There are numerous details that reveal how minutely all the participants are listening to each other. The slow movement unfolds in a mood of unruffled calm, Bronfman’s first entry gentle, delicate, with an appropriate, even touching simplicity. The finale is brisk and energetic and the way Bronfman keeps accompanying rhythmic figurations light and well buoyed is most appealing.
The fill-ups are worthwhile, the Choral Fantasia’s long solo opening more thoughtful than usual and with a bright, easy-going contribution from the chorus. Nothing is ever forced or overstated and the contrast in Calm Sea and Prosperous Voyage between worrying stillness and the first signs of a redeeming breeze, ingeniously painted by slowly swirling triplets, is superbly handled.
It is hard to imagine anyone being less than satisfied with Bronfman and Zinman, the Tonhalle Orchestra scoring top marks for teamwork, their woodwinds sounding fully on a par with Europe’s best. Superbly balanced sound helps clinch an unmissable bargain.
Piano Concerto No 5, ‘Emperor’*. Triple Concerto, Op 56**
*Leon Fleisher, **Eugene Istomin (pfs) Isaac Stern (vn) Leonard Rose (vc) Cleveland Orchestra / George Szell; Philadelphia Orchestra / Eugene Ormandy
Sony Classical SBK46549 (74' · ADD) Recorded 1961, 1964. Buy from Amazon
Leon Fleisher’s recording of the Emperor is very powerful indeed. He was relatively young at the time and obviously George Szell had a considerable influence on the reading, but the solo playing is remarkably fresh and its pianistic authority is striking. That great octave passage in the first movement, just before the recapitulation, is enormously commanding, and Fleisher’s lyrical playing, in the slow movement especially, has striking poise. Szell keeps the voltage high throughout, but for all its excitement this is by no means a hard-driven, unfeeling interpretation. The recording is bright, bold and forward in the CBS 1960s manner, and the Severance Hall acoustic prevents any ugliness.
A splendid Emperor, then, but what makes this disc even more enticing is the inclusion of an equally distinguished version of the Triple Concerto, recorded in Philadelphia Town Hall (a much more successful venue than many used over the years for this great orchestra). The very gentle opening by the orchestra is full of anticipatory tension, and at the beginning of the slow movement Ormandy’s preparation for Rose’s glorious cello solo demonstrates what a superb accompanist he is. Indeed, this is no mere accompaniment, but a complete partnership. Although Stern’s personality dominates marginally, the three soloists play together like a chamber-music team, without in any way submerging their individuality. The sound is very good for its time.
