Product description This disc, Helene Grimaud's first with Teldec, also marks her first collaboration with Kurt Masur and the New York Philharmonic. Beethoven's Fourth Concerto is a fitting test for a young pianist whose sky rocketing career has earned worldwide media attention. Masur, a skilled orchestral accompanist with a personal affinity for Beethoven, elicits an expert performance from his forces. .co.uk Helene Grimaud's Beethoven collection proves, once again, that she may be the finest soloist of her generation. As poetic in many passages as she is brilliant in others, the pianist provides a live reading of the celebrated No. 4 that holds its own with any in the catalogue. Grimaud's mind is a palace--she moves through the score with the complete fluency of Beethoven's spirit, performing the material as if it were written yesterday. The opening five bars of the "Allegro Moderato" are not viewed as a mere prelude--Grimaud knows that the success of the entire concerto can hinge on the precise balance of the composer's rhythmic and melodic elements. Masur follows with a full-scale orchestral tutti, engaging our interest until the pianist returns with her crystal line. At no time does she substitute herself for the author--for Grimaud, Beethoven's text is natural and clear. In the concluding "Rondo", the soloist explodes across the staves with a totality suggesting the endless possibilities of the score. Both of the late sonatas are lovingly rendered, though the E Major Sonata (Op. 109) creates the strongest impression. Consider the sempre legato in the opening exposition, the concentrated sonata form of the fiery "Prestissimo" (Grimaud is particularly strong in the second group recapitulation), or the quiet spirituality conveyed in the theme-and-variations ("Andante molto Cantabile"). Throughout the programme, the pianist plays as if she fully understands what Beethoven meant when wrote that "it's impossible to leave the world until I've brought forth all that is in me ... Providence, grant me but one day of pure joy." In this recording, Grimaud grants the listener one full hour of the pure joy Beethoven was referring to. This is a masterpiece. --Kevin Mulhall
G**Y
Profound Musicianship From Artist Prepared to Risks
Beethoven's 4th Piano Concerto remains one of the best loved works in the Piano Concerto repertoire. Less dramatic and more lyrical than its brilliant successor the "Emperor," it has a charm and intimacy that makes some prefer it. Its first movement starting, unusually, on the piano instead of orchestra sets listeners a question that seems to be answered here. In this concerto Beethoven moves from being a "classical" composer and successor to Mozart into Romanticism. This continues in the second movement, where the piano "tames" an angry orchestra, before the exuberance of the final movement.Helene Grimaud is a brilliant, visionary pianist, in my view one of the best of her generation. A successor to Martha Argerich, Grimaud is also an individualist as readers of her autobiography Wild Harmonies: A Life of Music and Wolves will be aware. There is a photograph of the pianist in the notes for this CD, presumably photographed at her sanctuary for this animal.Grimaud is not without her critics. For those who are sceptical about her musicianship, this might be the disk to give them pause for thought. The opening of the fourth concerto begins in a searching manner, and is sympathetically accompanied by the New York Philharmonic under Kurt Masur. Masur, to my mind, often an able but uninspiring conductor is in good form. His musicianship is subtle and eloquent perhaps inspired by the soloist who has never been more musically insightful than here. Until now my favourite recording of the work has been Wilhelm Kempff with Leitner (see Beethoven: Piano Concertos Nos.4 & 5 ). The recording standards of the older DG performance still withstand comparison with the more modern recording techniques on show here. Grimaud and Masur make a very appealing alternative.In the sonatas Grimaud is in brilliant form also. I have a prejudice towards older pianists like Artur Schnabel, Wilhelm Kempff, Mitsuko Uchida and Alfred Brendel in late Beethoven. An exception to this rule might be the younger Daniel Barenboim. I would put Grimaud in this category here and she easily gets past this prejudice of mine. The Op 109 is thoughtful, while the Opus 110 is devastating. My only regret is the Op 111 is not also included.All in all, a delightful and inspiring disk. This disk is one of that shows Grimaud's artistry to good effect.
R**B
Four Stars
Good
A**E
Ok concerto, sonatas failure
Grimaud has enriched us with numerous superb recordings from the1980s on.The concerto interpretation is listenable but not especially recommenable.The sonatas are a failure. She goes dreamy and ruminating in the quiet parts, and the architecture crumbles. These unique masterworks need to be allowed to breathe and flow freely like the forces of nature they are instead of being picked apart . For once I am sorry to say that I feel Grimaud has no special insights to offer.
A**S
Great recording
Favourite pianist performing my favourite piano concerto, wonderful
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