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Track Listings
| 1. Allegro Con Brio |
| 2. II. Largo |
| 3. III. Rondo: Allegro |
| 4. Fantasia In C Major |
Editorial Reviews
Beethoven Piano Concerto No. 3
"choral" Fantasy
Rudolf Serkin, Piano
Seiji Ozawa
Boston Symphony Orchestra
John Oliver
Customer Reviews
Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
Amazon appears to have messed up this entry quite badly. The disc on sale here is Rudolf Serkin's performance of Beethoven's third with Ozawa, yet most of the reviewers appear to be reviewing an Ashkenazy set, so at some point Amazon appears to have changed the product to which the reviews were attached. Well, this review is of the Serkin performance:
Rudolf Serkin was not exactly a youth when he recorded this disc in 1983, and he certainly does bring a lifetime of experience at the piano to the performances. There are deep insights here, and evidence of deep understanding of Beethoven's third concerto, aplenty, and much of the phrasing, shading and nuancing is absolutely wonderful - if some of the passages are a tad rough and ramshackle it is easy to forgive it. What is not so easy to overlook is the absence of fire and passion. Overall this is a very lyrical, mellow performance, poetic but precautious and lacking in bite - saying that the outer movements come across as pleasant strolls may be to exaggerate, but only a little. Even the slow movement, though definitely gorgeously beautiful, lacks depth.
That said, so much of the playing is really superb, and I am certainly unwilling to write off this performance - yet I doubt that it would serve as anyone's first or only version of the work; it is not even quite on the level of a splendid alternative. Yet those who already know the work more or less in and out may still find some interesting details to savor here. At least the Boston Symphony Orchestra under Seiji Ozawa is very good (sounding generally more involved than the soloist).
The Choral Fantasia is a bizarre work and hardly a masterpiece by any standards. Again, Serkin is too careful in the beginning, and to be honest it comes across as boring (something this work should certainly not do if it is to stand any chance of covering up its weaknesses). When the orchestra enters, and especially the chorus, things improve, for both orchestra and chorus are spirited and appropriately exuberant. This is a relatively early digital recording, and Telarc had yet to find a correct and conistent balance between the forces - the sound is very vivid and has a wide dynamic range, but in the Fantasia in particular the soloists are curiously positioned relative to the chorus, which sounds somewhat flat. The piano sound is not completely ideal either, having just that tinge of digitalness that apparently took engineers some time to really figure out in the early 80s. Overall, this disc deserves a somewhat cautious recommendation.
Rudolf Serkin was not exactly a youth when he recorded this disc in 1983, and he certainly does bring a lifetime of experience at the piano to the performances. There are deep insights here, and evidence of deep understanding of Beethoven's third concerto, aplenty, and much of the phrasing, shading and nuancing is absolutely wonderful - if some of the passages are a tad rough and ramshackle it is easy to forgive it. What is not so easy to overlook is the absence of fire and passion. Overall this is a very lyrical, mellow performance, poetic but precautious and lacking in bite - saying that the outer movements come across as pleasant strolls may be to exaggerate, but only a little. Even the slow movement, though definitely gorgeously beautiful, lacks depth.
That said, so much of the playing is really superb, and I am certainly unwilling to write off this performance - yet I doubt that it would serve as anyone's first or only version of the work; it is not even quite on the level of a splendid alternative. Yet those who already know the work more or less in and out may still find some interesting details to savor here. At least the Boston Symphony Orchestra under Seiji Ozawa is very good (sounding generally more involved than the soloist).
The Choral Fantasia is a bizarre work and hardly a masterpiece by any standards. Again, Serkin is too careful in the beginning, and to be honest it comes across as boring (something this work should certainly not do if it is to stand any chance of covering up its weaknesses). When the orchestra enters, and especially the chorus, things improve, for both orchestra and chorus are spirited and appropriately exuberant. This is a relatively early digital recording, and Telarc had yet to find a correct and conistent balance between the forces - the sound is very vivid and has a wide dynamic range, but in the Fantasia in particular the soloists are curiously positioned relative to the chorus, which sounds somewhat flat. The piano sound is not completely ideal either, having just that tinge of digitalness that apparently took engineers some time to really figure out in the early 80s. Overall, this disc deserves a somewhat cautious recommendation.
2 of 3 people found the following review helpful
Format:Audio CD
This cycle of Beethoven Piano Concertos was recorded at Cleveland's Masonic Auditorium in the 1980s. The Choral Fantasy, which is somewhat less commonly heard than the Concertos, is included.
In his many years as a pianist Ashkenazy earned a reputation as a straightforward, technically admirable, somewhat unimaginative pianist. Ashkenazy is primarily a conductor these days. In these recordings, we get to hear him in both roles, and he conducts like he plays. He's the ideal musician for those who want a normal interpretation - and since he's recorded nearly all the standard repertoire, the collector can acquire, via Ashkenazy, standardized performances of just about everything. Such is the case here: Ashkenazy follows nearly all of Beethoven's tempo and dynamic indications - except with regard to the sustaining pedal, which almost no one follows. It's all very well played. But there are times, particularly in the beginning of the Choral Fantasy (a long improvisatory-like solo piano passage), when I was left wanting more imagination.
Incidentally, in the G major Concerto, Ashkenazy does not play the extensions in the high treble that have become customary - he plays the passage as originally written by Beethoven to accommodate the smaller range of contemporary pianos. Also, in the B-flat Concerto, Ashkenazy provides his own cadenza - which is interesting and fits the Concerto as a whole. In the First Concerto's opening movement, he plays the least virtuosic of Beethoven's three cadenzas. I wouldn't have objected if Ashkenazy had written cadenzas for the first four Concertos (Beethoven specifically forbids a cadenza in the Emperor Concerto). Beethoven, who always improvised his own cadenzas, would probably be astonished to learn how regimented cadenza playing has become.
The Cleveland Orchestra's playing is spotless (they could probably play these works in their sleep), but lacking that last ounce of inspiration that comes from a great conductor with undivided attention. (To hear them at their best, check out the Fleisher/Szell set listed below.)
As for the sonics, the piano is placed somewhat forward of the orchestra, although individual instruments appear to have been spot-miked. The dynamics are also rather constricted. This set would make a good candidate for SACD remastering to open things up.
In sum, this is a well played and solid - but hardly inspired - set of Beethoven Concertos, in good - but not outstanding - sound.
Recommended sets:
Kempff/Leitner: Beethoven: 5 Klavierkonzerte
Fleisher/Szell: Beethoven: The 5 Piano Concertos/Mozart: Concerto No.25
None of the above sets have the Choral Fantasy.
Recommended individual Concertos:
Concerto 1: Richter/Munch Piano Concerto No 1
Concerto 2: Kapell/Golschmann Beethoven: Concerto No. 2
Concerto 3: Rubinstein/Leinsdorf Rubinstein Collection 57
Concerto 4: Rubinstein/Beecham Rubinstein Collection, Vol. 9
Concerto 5: Casadesus/Mitropoulos Beethoven: Piano Concerto No. 5; Violin Concerto
Choral Fantasy: Serkin/Ozawa Piano Concerto 3 / Choral Fantasy
In his many years as a pianist Ashkenazy earned a reputation as a straightforward, technically admirable, somewhat unimaginative pianist. Ashkenazy is primarily a conductor these days. In these recordings, we get to hear him in both roles, and he conducts like he plays. He's the ideal musician for those who want a normal interpretation - and since he's recorded nearly all the standard repertoire, the collector can acquire, via Ashkenazy, standardized performances of just about everything. Such is the case here: Ashkenazy follows nearly all of Beethoven's tempo and dynamic indications - except with regard to the sustaining pedal, which almost no one follows. It's all very well played. But there are times, particularly in the beginning of the Choral Fantasy (a long improvisatory-like solo piano passage), when I was left wanting more imagination.
Incidentally, in the G major Concerto, Ashkenazy does not play the extensions in the high treble that have become customary - he plays the passage as originally written by Beethoven to accommodate the smaller range of contemporary pianos. Also, in the B-flat Concerto, Ashkenazy provides his own cadenza - which is interesting and fits the Concerto as a whole. In the First Concerto's opening movement, he plays the least virtuosic of Beethoven's three cadenzas. I wouldn't have objected if Ashkenazy had written cadenzas for the first four Concertos (Beethoven specifically forbids a cadenza in the Emperor Concerto). Beethoven, who always improvised his own cadenzas, would probably be astonished to learn how regimented cadenza playing has become.
The Cleveland Orchestra's playing is spotless (they could probably play these works in their sleep), but lacking that last ounce of inspiration that comes from a great conductor with undivided attention. (To hear them at their best, check out the Fleisher/Szell set listed below.)
As for the sonics, the piano is placed somewhat forward of the orchestra, although individual instruments appear to have been spot-miked. The dynamics are also rather constricted. This set would make a good candidate for SACD remastering to open things up.
In sum, this is a well played and solid - but hardly inspired - set of Beethoven Concertos, in good - but not outstanding - sound.
Recommended sets:
Kempff/Leitner: Beethoven: 5 Klavierkonzerte
Fleisher/Szell: Beethoven: The 5 Piano Concertos/Mozart: Concerto No.25
None of the above sets have the Choral Fantasy.
Recommended individual Concertos:
Concerto 1: Richter/Munch Piano Concerto No 1
Concerto 2: Kapell/Golschmann Beethoven: Concerto No. 2
Concerto 3: Rubinstein/Leinsdorf Rubinstein Collection 57
Concerto 4: Rubinstein/Beecham Rubinstein Collection, Vol. 9
Concerto 5: Casadesus/Mitropoulos Beethoven: Piano Concerto No. 5; Violin Concerto
Choral Fantasy: Serkin/Ozawa Piano Concerto 3 / Choral Fantasy
10 of 16 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
In its best passages, this recording achieves true greatness. In particular, the slow movement of the Emperor is a perfect dream, into which Ashkenazy draws the wonderful Cleveland players. Who needs a conductor when the musicians know the notes by heart and when unity can only be achieved in any case by careful listening to the soloist and to each other, not by following a conductor's second-hand intuition of where the soloist is going. There is a downside of not having a conductor, however, namely that during the solo passages the orchestra lacks a force driving it to huge fortissimos and dynamic changes in the interwoven accompaniment. While one has to assume that Ashkenazy's dynamic interpretation won out overall, the result is a somewhat restrained execution. But Ashkenazy's playing is wonderfully expressive throughout, and this set can be recommended for definitive performances free from the idiosyncratic excesses of some other renditions.
Most Recent Customer Reviews
4.0 out of 5 stars
A great pianist
I am very pleased to listen to this Beethoven 's masterpiece played by one of the greatests pianists.
Very interesting.
Very interesting.
Published on March 14, 2011 by Radiguer
5.0 out of 5 stars
good shop
Goes is damaged or if, I was worried about how bad the condition of the disk, I received the order of the state. Thank you.
Published on August 8, 2010 by kin-sun
5.0 out of 5 stars
Ashkenazy excels
This 1988 recording is the third set of the Beethoven concertos Ashkenazy has taken to the recording studio and for me his best. Read more
Published on March 31, 2008 by Bookworm
5.0 out of 5 stars
CD
I am very pleased with this purchase. very reasonable price and quick delivery. Gets an A plus in my book.
Published on November 25, 2007 by JC
4.0 out of 5 stars
Beethoven: Piano Concerto No.3; Choral Fantasy
Dear Sir or Madam,
As for Choral Fantasy, I'm more impressed with Peter Serkin's performance.
As for Choral Fantasy, I'm more impressed with Peter Serkin's performance.
Published on January 11, 2007 by Hime Yuki
5.0 out of 5 stars
Can't imagine a better performance!
I am clearly an amatuer regarding such matters, but I have never for a second regretted purchasing this set and find the performances and the recordings to be flawless. Read more
Published on September 26, 2006 by S. Heinen
5.0 out of 5 stars
Two Flawed Masterworks
This CD features two flawed but grand works of Beethoven. Beethoven's piano concerto no. 3, opus 37 and his choral fantasy opus 80 have much in common besides their C minor key. Read more
Published on May 22, 2006 by Robin Friedman
4.0 out of 5 stars
Ashkenazy's pianism is beautiful, but too restrained
Vladimir Ashkenazy's account of Beethoven's five Piano Concertos and the Coral Fantasy is pleasing on almost all accounts: he is brilliant and poetic in his interpretations;... Read more
Published on November 27, 2005 by S. Peliska
3.0 out of 5 stars
Somewhat mechanical performance for my taste
While Ashkenazy is undoubtedly very strong technically, he makes a mistake in my view trying to play the piano and conduct at the same time. Read more
Published on February 25, 2003
5.0 out of 5 stars
Ashkenazy is _such_ a Romantic...
...And this fact only helps his interpretations of Romantic music, starting first and foremost with Beethoven. Read more
Published on May 23, 2001 by Douglas S. Halfen
