Customer Reviews

Beethoven: Die Klavierkonzerte

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The complete set of Beethoven piano concertos herein are re-masters of a series originally recorded by Kempff in the 1950's. (These recordings should not be confused with the Kempff/Leitner series produced in stereo in the 1960's). The CD transfers are clear and clean, rendering their age unimportant.

What does matter is that these performances are magical, full of an astounding imagination deployed by Kempff at the height of his powers. Here we find a vision of Beethoven as a majestic poet, speaking to us from the Beyond through Kempff. Just listen to the sense of joyful daring offered by Kempff in the first and third movements of the second concerto! These performances offer unmatched depth of spirit, imagination and even playfulness, with a sense of hidden, finely controlled power running beneath them. Edward Greenfield rightly heaped praise on these interpretations in his Gramophone review.

For my part I am reminded of Alfred Brendel's notes on Kempff in the "Great Pianists of the 20th Century" series. I believe Brendel wrote that "at his best, Kempff plays better than the rest of us." In the case of these Beethoven Piano Concertos, Brendel is absolutely right! Not to be missed on any account!

There have been very good teams around this set. Consider Fleisher-Szell in the sixties
But the remarkable aspect is the happy combination of the craft singing piano of Wilhelm Kempff still in his sixties, with a conductor so underestimated as Paul van Kempen (died in 1955).
Van Kempen and the Berlin Philrmonic had a very close relationship in the fifties and reciprocal admiration.
van Kempen a frequent director of the famous Concertgebouw of Amsterdam, could combine the sublime and powerful of the Berlin Philarmonic, who certainly lived its golden age under the unique Wilhelm Furtwangler.
In these conditions , the happy meeting of this trio made it possible, a result who goes beyond all the worthy efforts that Kempff repeated a decade after but lacking expresiveness, power and sense of bliss.
All the concerts are played with powerful elegance, poetry,comittment and a sense of cosmical gaze.
Don't miss this set. It's unvaluable. The best results are the second, third fourth and specially the fifth concert, Emperor.

This is the finest recordings and performance of the concertos. Kempff's playing is transcendent and goes beyond what mere interpretation is. It delves into the essence of the music and provides the emotional and spiritual nuances and energy that is at the heart of all great music. That such music is possible, and that it can be executed in such a manner is amazing in itself.

This set is a magical match of performer, conductor, and orchestra. Early 50's Kempff at his best with the Berlin Philharmonic under van Kampen, all in excellent sound. These readings are both lyrical and powerful at the same time. Kempff was always a wonderfully lyrical player, but here he is also powerful--witness his mind boggling performance of the Emperor. Also of note are Kempff's wonderful cadenzas throughout the set. A desert island set of the Beethoven concertos.

Don't waste your time (and money) with other readings. This is absolutely the finest cycle out there.

Kempff had perhaps the best innate understanding of Beethoven's lyrical architechtonics; plus he had the wonderful techinque to execute his realizations. Kempff had splendid taste and vibrant exhilaration.

To quote Schnabel: "This music is better than it can ever be played". True, but it's never been played better than this. While I admire the Fleischer Szell, which I grew up with and once viewed as the sine qua non in this repertoire, adore Rubinstein's virtuosity with Leinsdorf, and love Curzon and Knappertsbusch in 4 (especially) and 5, there is no question that these are now the performances I turn to most often. How interesting that this, as well as Cluyten's symphonies were both with the Berlin and both done in the mid fifties in Mono. Was stereo a superior medium then? Not based on these recordings! And, the Berlin was surely the world's greatest orchestra then, before Karajan got neurotic about fine tuning it's sound. Van Kempen, not usually my favorite, is masterful, and Kempff is amazing. I love Alfred Brendel's quote: "When Kempff is playing well, he is simply better than the rest of us." After such encomiums, perhaps I do have the slightest quibble with the Emperor, in that it comes off at times as slightly bombastic, and missing a little of the lyrical, poetic element (admittedly not the defining character of the piece). That slight reservation aside, these performances are simply a must buy for every lover of music.

Look no further.
The definitive set of Beethoven piano concerti.
The sonics are reasonably good, even if mono.
Kempff and van Kempen approached the pieces as no others would, with the Berlin Philharmonic playing like gods to boot.
Each concerto is definitive.
The No. 1, full of joyful nuances and surprises.
The No. 2, surprise after surprise. Never thought the piece could be played that way.
The No.3, puts S. Richter and Sanderling's to shame.
The No. 4 and No. 5 blow you right off your chair.
The later stereo set with Ferdinand Lietner really is a non-starter compared with this set.

I have been a fan of Beethoven's symphonies for sometime, and was pleased to discover his piano concertos have plenty of offer as well. In particular, his 5th concerto is outstanding. It's depth of expression and joy equals that of the 9th symphony in my mind. Its palette ranges from intensely somber to sheer unadulterated joy.