Search - Helen Grimaud, Jurowski :: Piano Concerto 5: Emperor/Piano Sonata 28 in a

MARVELOUS PERFORMANCES OF BEETHOVEN'S "EMPEROR" & OPUS 101

RBSProds | Deep in the heart of Texas | 10/09/2007

(5 out of 5 stars)

"Five MARVELOUS Stars!! Brilliant French piano virtuoso Hélène Grimaud has conjured up highly enjoyable and individualistic interpretations of two awe-inspiring Ludwig Van Beethoven compositions: Piano Concerto No. 5 in E flat major, Opus 73 (which fans have given the name "Emperor", but not by Beethoven himself); and the Piano Sonata No. 28 in A major, Opus 101: which Beethoven called "a series of impressions and reveries". Widely known for her thoughtful and personal interpretations of the classical master composers, Ms Grimaud has continued to widen her overall repertoire and, in this case, to deepen her personal Beethoven performance treasury. It is also said the extraordinary Ms Grimaud has a natural form of the condition called synesthesia: in her case she actually experiences music as colors and maybe that's the special quality we are hearing in her wonderful interpretations which have so much verve and flare. Ms Grimaud is wonderfully supported by the splendid Staatskapelle Dresden Orchestra under the baton of Vladimir Jurowski for Opus 73. Here, Ms Grimaud shows herself to be a very thoughtful yet powerful, philosophical, and deeply individualistic performer who gives the listener a new viewpoint of Beethoven's astounding creations.



Both performances of these masterworks are 'Pieces De Resistance', but of special note to me is Ms Grimaud's stupendous reading of "Emperor"s Allegro movement with soaring, empathetic support from the Staatskapelle Dresden. Then there is the poetic reading of the second and third movements: the Adagio un poco mosso and the elegant and joyous Rondo. I DO "hear thoughts, reflections, and ideas" delivered in what she calls a "contemporary" version of "Emperor". My favorite version of "Emperor" remains that of the legendary Guiomar Novaes and the Bamberg Symphony Orchestra under Jonel Perlea in the 1950s, but this is a most impressive and individualistic reading by Ms Grimaud. That's also certainly true of the four movement Opus 101 where Ms Grimaud unleashes new textures and dynamism in her version, especially in the impressive flow and exposition of movement IV (Geschwind). Decades into her brilliant career, Hélène Grimaud continues to deliver stunning, thoughtful interpretations of the classics, as exemplified by this excellent recording. Kudos to Vladimir Jurowsk and the Staatskapelle Dresden Orchestra. The recording is clear and crisp. My Highest Recommendation. Five IMPRESSIVE Stars!!!

(This review is based on an iTunes digital download.)"

Superb, If Not Definitive, Beethoven 5th "Emperor" Piano Con

John Kwok | New York, NY USA | 11/24/2007

(5 out of 5 stars)

"Young French pianist Helene Grimaud's latest recording is among the best I have heard of the venerable Beethoven 5th "Emperor" Piano Concerto. It is also among the fastest, approximately a minute and a half shorter in length than several older digital recordings I possess of this work (The only relatively recent recording of the "Emperor" concerto I am aware of that's still faster is one with Stephen Kovacevich and the Australian Chamber Orchestra.). Regardless of its speed, Grimaud's interpretation is truly a spellbinding one, in which her playing most closely resembles that of her mentor, Martha Argerich, in its dramatic, fiery quality. For this reason alone, potential purchasers of this CD should think seriously of acquiring it, since it amply demonstrates both the technical and artistic brilliance of someone whom I've regarded for years as one of the most compelling pianists of our time. But is Grimaud's interpretation one that should be regarded as definitive? The short answer is "No", when you compare and contrast her recording with such great ones from the past two decades from the likes of the late Claudio Arrau, Murray Perahia and Andras Schiff, among others. Indeed, I would regard these as more likely candidates for being the "definitive" recordings of this venerable Beethoven warhorse, especially when all three have been noteworthy interpreters of Beethoven's piano scores, especially, in particular, the piano concerti (I might add too, that one of my favorite recordings of Grimaud's is an earlier Teldec (Warner Classics) release of her performing the Beethoven 4th piano concerto live in concert with the New York Philharmonic Orchestra under the baton of Kurt Masur; that recording emphasizes more some of the introspective, lyrical side to her playing, which, regrettably, has been substituted herein for drama and speed.). A truly compelling studio performance of Beethoven's Piano Sonata No. 28 in A major, op. 101, closes out this recording; if nothing else, it reaffirms Grimaud's emergence as a Beethoven interpreter of note, whose intense, dramatic style of playing is most reminiscent of Argerich's.



Barely keeping pace with Grimaud is the venerable Staatskapelle Dresden, under the baton of young conductor Vladimir Jurowski, whose most prominent North American role now is as one of the three principal conductors in charge of the Pittsburgh Symphony Orchestra. The orchestra itself is in fine form, with ample rich, warm sound, especially from the winds and strings. However, their playing isn't nearly as inspired as in previous recordings of this concerto with Claudio Arrau and conductor Sir Colin Davis (Philips) and Andras Schiff and Bernard Haitink (Teldec); potential listeners might be well advised to seek out either of these earlier digital recordings, if they wish to hear it perform this work under the batons of two of the greatest conductors of our time. Of course, the sound quality is superb, up to the usual high standards of excellence that long-time fans of Deutsche Grammophon have come to expect. In conclusion, those interested in acquiring one of the best recent recordings of the Beethoven 5th Piano Concerto should be quite satisfied with Grimaud's latest; more discerning audiophiles may find more compelling, older digital recordings from Arrau, Perahia, and Schiff, as well as more recent ones from Brendel, and especially, Aimard (Aimard's recent Warner Classics recording may be the most desirable artistically, since it's part of a Beethoven piano concerto cycle which he recorded in live concert performances with the Chamber Orchestra of Europe under the baton of Nikolaus Harnoncourt.).

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A triumphant and fiery interpretation

C. B Collins Jr. | Atlanta, GA United States | 05/17/2008

(5 out of 5 stars)

"Helen Grimaud is a considerable talent and her interpretation of Beethoven's Piano Concerto No. 5 is passionate and powerful. She style is so very clear and crisp.



The first movement, the Allegro, is full of passion and emotion. The hints of triumphal marches, the force and drive of the work, can only be described as heroic and powerful. Yet this theme is countered with wit and poetry as the movement is reconciled.



The second movement, Adagio un poco mosso, is delicate and warm. The delicacy of the piano compliments the warmth of the horns and violins much like dew on leaves in morning light. The piece is sweet yet graceful and fluid for it never is too sweet. It ascends and then resolves the ascension with warm compassion.



The third movement, the Rondo, is massive. The piano seems to dance with the orchestra as your concentration shifts back and forth between orchestra and piano. The heroic seems to be tamed in this final movement and yet remains full of energy and fire. The third movement also seems to me to be most grounded in a sense of the 18th century with its evocations of waltz and military pomp. The piano is allowed to play the witty commentator upon the regal orchestra to great effect.



Whereas in the first and third movements the piano is a witty commentator upon the force of the orchestra until given reign and shows considerable emotion and passion. The middle passage contrasts beautifully with the first and third in that the piano becomes light,lyric, delicate against the tapestry like warmth of the orchestra.



A fine listening experience.



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