A Memoir of a Poet

A Splendid Rendition of Grieg's and Schumann's Piano Concerti

Edvard Grieg: Concerto for Piano and Orchestra in A minor, Op. 16
Robert Schumann: Concerto for Piano and Orchestra in A minor, Op. 56

Leif Ove Andsnes (piano forte)
Berliner Philharmoniker/ Mariss Jansons

EMI CD 557562-2 (59 minutes : DDD)

You might call these two brilliant piano concerti the heavenly twins (or the Siamese twins if you prefer) among all piano concerti: not surprisingly, they have been coupled together on disc many times over. It says much for this latest version that it immediately establishes itself a formidable rival of the two versions listed here: Murray Perahia on Sony Classical and Stephen Kovacevich on Philips Classics, combining  as they do spontaneity and concentration, dedication and poetry.

The Norwegian pianist, Leif Ove Andsnes is a once-wunderkind of the piano who has matured into of the finest pianists of today. He has recorded Grieg's Piano Concerto more than once. Back in 2000, together with Bergen Philharmonic Orchestra conducted by Dmitri Kitayenko, Andsnes performed this concerto but lacked the conviction of his current interpretation. But this time  (in 2003), here with Berliner Philharmoniker the gains are even far greater. The Norwegian piano virtuoso retains a freshness and expressiveness that never sounds so contrived, always spontaneous and impromptu. That inspirational quality is more markedly perceptible with the new version's faster tempi, but the expressive flights remain as broad as always. The Berliner Philharmoniker under the baton of the prominent Latvian conductor, Mariss Jansons, provides Andsnes a firm and solid support, with playing not just refined but dramatic too in fiercely exciting tuttis. As for Schumann's Piano Concerto, the Berliner Philharmoniker cellists, a famous group in their own right, sound at their very best in the Schumann's slow movement. Schumann's cello melodies are gloriously warm and luscious, with textures in both works admirably clear, and Andsnes fully responds to Schumann's expressivo and ritardando requests. I simply adore it because I particularly like the free-flowing tempo for the central Andantino grazioso of the Schumann. Unlike the Italian pianist, Maurizio Pollini and the Polish pianist, Krystian Zimerman, both of them treat this movement as a simple Andante.

Anyway to any classical music lovers and connoisseur, the collaboration between Andsnes and Jansons (and also Berliner Philharmoniker) works quite well, and if you don't already have half a dozen of CDs with this coupling already in your collection, this one is definitely worth considering. Highly recommended by yours very truly.

The Best Mendelssohn and Bruch in Years

Felix Mendelssohn: Concerto for Violin and Orchestra in E minor, Op. 64
Max Bruch: Concerto No. 1 for Violin and Orchestra in G minor, Op. 26

Midori (violin)
Berliner Philharmoniker/ Mariss Jansons

Sony Classical CD SK 87740 (53 minutes : DDD)

What a joy this CD is. When I first listened to this CD, yours truly  was left ga-ga - dumb founded and hypnotised by the spell Midori casts on my mind. I was "petrified" by her outstanding renditions. Midori has become, quite simply, a great violinist. For your information, this violin virtuoso has made a legendary debut at Tanglewood when she was just 14-year-old: not only did she break the E-string on her violin twice (she had to borrow violin from the concertmaster and the associate concertmaster), but also the late American conductor, Leonard Bernstein no less, knelt before her in awe and amazement. The next day the New York Times front page displayed "Girl, 14, Conquers Tanglewood with 3 violins." I bet even that deceased megalomaniac Austrian conductor, Herbert von Karajan would be most likely astounded by her pure virtuosity so... move over Anne-Sophie Mutter!!

These two great violin concerti are wonderfully played here. Midori delivers stunning performances of both the Mendelssohn and the Bruch: Individual, but not gratingly idiosyncratic; lyrical; and with a delicious range of tone and emotion.

The gorgeous opening melody of the Mendelssohn sets the tone; the sweetness of Midori extracts from her violin is instantly captivating. The 2nd movement avoids sentimentality while remaining faithfully songful and the finale is light and airy, as if the bow barely touches the strings. In short, Midori's rendition of Mendelssohn's violin concerto is gracefully exciting with a great range of dynamic and colour. The music flows and grows naturally with many breath-taking and electrifying moments.

 

The Bruch opens with just the right dark, introverted mystery and gradually Midori building up the climax. The middle movement is sheer poetry and the finale is brilliantly sparkling. As a summary of Midori's rendition of Bruch's violin concerto, she delivers a dramatic yet introspective performance. The Adagio is given an extra depth by her impossibly delicate tone and phrasing. The finale is not so capricious, without a hint of "look-at-me" arrogance.

 

The live recordings are vivid and the audience clearly brings out the best in both soloist and orchestra, all under the caring, balanced eye of Mariss Jansons. Such power! Such delicacy! Simply a splendid structured recording. Love it. This CD is a definite winner!

I'd like to end this with oft-quoted comment by Joseph Joachim the great violin virtuoso in his own right: "The Germans have four violin concertos. The greatest, the most uncompromising, is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's."