SIZE IS OPTIONAL
DAVID BRYSON | Glossop Derbyshire England | 06/29/2009
(5 out of 5 stars)
"This is a very high quality production of its kind. Whether its kind will suit you I have no way of knowing, but I shall do what I can to explain what you will find here.
First, the orchestra is a chamber group, with 46 artists playing in each concerto. If you are accustomed to the 5th piano concerto played by a larger ensemble, so am I, and I can report truthfully that I sensed no lack of power or of full tone anywhere here. The conductor is the evergreen Sir Charles Mackerras, and as it is the orchestra that really sets the style, even in the 5th concerto, expect to hear orchestral introductions that are urbane rather than emphatic. I suppose that this is an issue mainly in no 3, where the first movement is directed to be played `allegro con brio'. I find myself hesitant to express a definite opinion about the way Mackerras handles this. Certainly I could imagine more brio, but thinking of other cases where Beethoven gives this instruction I don't seem to find it in the fieriest pieces. The first movement of the Eroica symphony and of the Waldstein sonata are `allegro con brio', for instance, whereas the far tenser first movements of the 5th symphony and the sonata Appassionata are not.
Pizarro's tone fits this approach like a glove, being rich in quality and not conveying any sense of deliberate restraint. Technically nothing bothers him, and that is more than one can say even today for many players in the rondo theme from no 5. Likewise his despatch of the fiendish sequences in that work's first movement where the left hand descends in chromatic scales in a cross-rhythm against the right hand is satisfyingly vigorous and uninhibited. It is not how Michelangeli or Serkin do it, but they are a different story.
However what I really admire most about this set is its clarity of purpose and coherency in execution. Soloist and conductor are fully on each other's wavelength, and absolutely everywhere I found the rhythmic control and consistency to be total. There are not many `special effects', although Pizarro plays the first chord of no 4 as an arpeggio. Tempi are for the most part fairly `normal', except for the adagio un poco mosso of no 5. To me, the speed here is an outright andante and no kind of adagio at all, but if it is too fast I call that a good fault, being as accustomed as I am to hearing the thing treated like a dirge for a Sunday in Lent. Where I like their tempo with no qualification is in the slow movement of no 4. This is marked `andante con moto' and for once it is played andante con moto. The usual problem is that soloists find this tempo hard to reconcile with their ideas of `expressiveness' in their replies to the orchestra, to which I would counter that the problem is their ideas of expressiveness.
Given the competition, any issue like this has to fight hard for a 5th star. What gets the 5th star from me is the handling of the slow movement of no 3. I think this is, quite literally, the best I ever heard in my life, keeping me spellbound through a movement that up to now I have never really been very fond of. There is some natural flexibility in the speed, and that is a characteristic of these performances throughout, but Pizarro is completely awesome at the start, dead slow in tempo and beautiful in tone. To that add some of the orchestral work later, and I believe you are likely to agree with me.
If I may, I shall just say something as well about being careful of first impressions. My own first impression of the recording was that it was slightly muffled, so if that is your first impression too I beg you to listen again. Whether it had to do with the ambient temperature of my sitting room, or with vagaries of my own physiology, or whether it was just because I had been listening intently for some time before to a very demanding set of unfamiliar Handel in which the recording majored in clarity more than in charm, this impression was plain wrong, and I believe you will find the recorded sound here friendly and appealing once you get used to it. Similarly if you find the playing at all underpowered, listen again. As I said earlier, Serkin is something else, but the world of Beethoven is big enough for more than one approach to him."
Another winning combination
Roderick Keech | Australia | 05/29/2009
(5 out of 5 stars)
"Over a year ago I reviewed the Linn release of Mozart's Symphonies 38-41 with Sir Charles Mackerras at the helm of the Scottish Chamber Orchestra, which was ultimately awarded Classical Recording of 2008 by the Sunday Times (UK). Mozart Symphonies 38 Through 41 It seems as if this partnership of record label, conductor and orchestra can do no wrong.
Here to add to the blend is the incredibly talented pianist Artur Pizarro.
I have several recordings of these works, yet there is something very special, once again, that Mackerras manages to evoke from his soloist and orchestra. There is nothing mundane about these performances - they are full of romanticism, freshness and beautifully recorded, providing a perfect soundstage.
Originally, Linn planned on only recording the 3rd and 4th concertos, but the sessions were reportedly so successful that they decided to press on and add the 5th (Emperor) on a second disc at no additional retail cost.
Mackerras is one of the finest exponents of Beethoven, Mozart and Dvorak ever, as is amply demonstrated in his prodigous recording catalogue.
So, what I have said before, equally applies to this release :
There are three striking things about this release:
1. The magnificent playing of Artur Pizarro & the Scottish Chamber Orchestra,
2. The inspired and thrilling conducting of Sir Charles Mackerras,and
3. The suburb Linn recording.
No matter what equipment you have, this recording will sound brilliant. As per Linn's standard, these discs are DSD Multi-Channel and Stereo SACD, requiring an SACD capable player, HDCD, requiring an HDCD capable player, and CD stereo which can be played in any CD player.
I think this collection will be yet another award winner come the end of 2009.
Strongly recommended on every level. I should also mention that the two discs are housed in a very attractive and sturdy digipak, complete with a 16 page booklet."
SCO, Mackerras, Pizarro: Beethoven P Ctos 3, 4, 5: SACD Surr
Dan Fee | Berkeley, CA USA | 05/29/2009
(5 out of 5 stars)
"At first glance by all rights, this pairing of big-toned pianist Artur Pizarro with the reduced band forces of the Scottish Chamber Orchestra ( led by Sir Charles Mackerras) should not work very well. The inherent potential contradictions between Pizarro's big singing tone, and the lively ensemble with a smaller number of players that a chamber orchestra typically indicates could reasonably be expected to sabotage the whole reading.
Truth is, that just doesn't happen on this set. All three piano concertos are high contenders. Three, Four, and Five (The Emperor).
Part of the thriving must be chalked up to the super audio surround sound which brings all the players to live so warmly, yet so clearly. The venue is the Perth Hall, UK. A quick glance at the set booklet reveals that the venerable James Mallinson was producer. If any producer should be able to get it right, Mallinson is surely on the A&R short lists. So. All in all, this set is a musical demo - not necessarily a flash and cannons demo - of what super audio surround sound can do for Beethoven well played. Recommended sound.
Pizarro does not try to shrink down his basic tone in these readings; that would be a musical mistake. What he does, is take very alert pains to vary his touch and phrasing so that his playing comes across in keeping with the overall warmth-plus-clarity-in-Beethoven that we are getting full tilt from the band. The gaps, between hearing a chamber band do Beethoven vigorously and hearing a big-handed player do the piano, never really materialize.
What does materialize in abundance is heart, singing tone, and a punch to drive home the intellectual and musical story. This Beethoven is a free thinking eighteenth century humanist, no doubt; but he has a genius that subsumes even his very high intellect, bringing it all together. The changing tonal shadings of Pizarro's playing are a constant delight without having to call undue attention to the basically luxurious sensuality embodied in Pizarro's touch. His tone is articulate as well as gorgeous, even when he stops pedaling and does all that music with his hands and arms and shoulders.
The consistent picture of Beethoven in this set is completely in keeping with the Beethoven view of the already released complete set of symphonies. The symphony set involved the SCO again led by Sir Charles Mackerras. That was captured in regular red book stereo; but the sound stage is similar, as are the attentive and involved readings of all nine symphonies.
Tempos are mainstream through all three piano concertos. The song and the intellect of the musical line is ever present; yet the ready, deep sense of musical development which communicates real Beethoven is never slighted either. A listener will hardly avoid the vivid impression that everybody involved had a tremendous time doing these three iconic piano concertos from one of our greatest western classical composers.
We have no shortage of well-played piano concertos. I've recently praised Irish pianist John O'Conor in his recently published complete set on Telarc, as well as the complete set emerging as released from Nadia Boulanger's protege, Idil Biret. Any number of other reading could be quickly added to the list.
And as it happens, add this set, too.
Some of my favorite single readings are not necessarily displaced by these. I continue to value Pollini and Karl Bohm in the third concerto. I really cherish Ivan Moravec with Turnovsky in the fourth. Serkin with Bernstein in the fifth. As I recall some comments, a few listeners may find these under characterized, as the reviewer's phrase goes. Strictly speaking, that's true. For all his gifts, Pizarro plays it pretty straight, as written. The old set that really comes to mind here is one with Charles Rosen doing piano and Wyn Morris leading the Symphonica of London. I haven't seen those discs around for quite a long time; but this emerging set reminds me of Rosen and Morris - just the full-tilt joys of playing right through, no fancy business. Just oodles of musicality. None of all my long appreciation for other readings I've heard keeps this set from winning my allegiance.
Could anybody who really likes the Beethoven piano concertos ignore such a fine combination of performance and sound? Recommended, all wide awake. Five stars."
Track Listings (6) - Disc #1