"Thank heavens! Someone interprets the 4th Piano Concerto with fire and brilliance without masking the warm song that runs through all of it. I'm quite sick of the traditional view of this concerto as a dreamy and gentle piece, making pianists and conductors downplay the concerto's drama and contrasts with unclear orchestral textures, languid tempi, and little variety of articulartion and dynamics. For those of you who think Beethoven is for cheese manufacturing, go elsewhere. For me, these recordings go to the heart of Beethoven, revealing him as both Dionysus and Apollo. In this performance, the finale of the 4th Piano Concerto exults just as much as the finale of the 7th Symphony. It's both heart-gripping in warmth as well as absolutely thrilling. The slow movement of the 4th Concerto is also remarkable -- this interpretation really does emphasize its links with the world of opera, with Davis's making the string octaves super-stern and Kovacevich gently shaping his lines like a singer (and what an outburst he creates in his cadenza!). There's a great moment in the 1st movement of the 1st Piano Concerto (the preperation for the recapitulation) where Kovacevich substitutes a descending scale for an octave glissando from the top to the bottom of the piano! Purists might scoff at this, but I find it absolutely irresistable. But I'm quick to add that any of you who might dismiss Kovacevich as an instensitive pianist should listen to his rapt restraint in the second movement of the 3rd Concerto, with phrasing to die for. The romances are really touching, and Grumiaux's intonation is quite immaculate. But Davis, Kovacevich, and the BBC Symphony Orchestra are the stars of this great bargain set. And I dare say that Kovacevich is (in my humble opinion) the most remarkable Beethoven pianist alive."
Beethoven + Piano = Kovacevich
alzo | UK | 03/06/2002
(5 out of 5 stars)
"I'm afraid I'm not familiar with the grimuax recordings but let me tell you that any beethoven cd with kovacevich is an absolute must. In my opinion he is the perhaps the best pianist of the recording era - you can throw Richter, Gilels, Horowitz, Argerich and the likes at me but none are better than Kovacevich - I am mystified why he has never gained the recognition of the others. The recordings with Sir Colin Davis on these concertos are magnificent - piano concertos 3 and 4 are the stand out with superb lyricism, but also the second movement of 5 must be the most sensative on record."
Kovacevich and Davis: A Stellar Partnership
John Kwok | New York, NY USA | 08/30/2001
(5 out of 5 stars)
"Stephen (Bishop) Kovacevich's electrifying Beethoven piano concerto cycle remains the standard against which others are measured. This two CD compilation contains his performances of the first four concerti, with Sir Colin Davis and the BBC Symphony Orchestra giving ample support. His dramatic performance of the 4th Piano Concerto is as fiery as Helene Grimaud's recently recorded Teldec account, yet Kovacevich shows he was the better technician. Equally commendable are his performances of the other three concerti, which are replete with warmth and brilliance. Along with Kovacevich's performances are two violin works performed by Arthur Grimaux supported by Bernard Haitink conducting the Concertgebouw Orchestra."
Veering between mild and wild
Santa Fe Listener | Santa Fe, NM USA | 05/17/2009
(3 out of 5 stars)
"These recordings date from between 1970 and 1974, at a time when Kovacevich and Davis had a productive partnership going that produced, among other good things, some outstanding Bartok concertos. Here they are far less successful. Their First Concerto, the earliest to be recorded, is mild to the point of blandness. Nothing is out of place, but one can hear similar generic readings from many other sources -- Haitink and Perahia on Sony are a sleeker, more polished example.
Then something strange happens. In Concertos #2-#4 the style changes completely. Now the orchestral accompaniments are rambunctious to the point of roughness, and Kovacevich's attack becomes blunt, even thumping. The sound is rackety, the piano close-miked and on the harsh side. I have no idea what Davis/Kovacevich had in mind. They even attack the Fourth Concerto as if it wanted to out-Emperor the Emperor. The results are hard to listen to as well as hard to fathom. I want Beethoven to sound both romantic and revolutionary. That's different from sounding rough-necked, which is what these boorish performances achieve."