Customer Reviews

Beethoven: Piano Concerto No. 4 / Piano Sonatas Nos. 30 & 31, Opp. 58, 109, 110

5 star:		(11)
4 star:		(5)
3 star:		(2)
2 star:		(2)
1 star:		(0)

 

 

Utterly compelling account of this most beautiful music. Grimaud plays with profound insight of the sort encountered in Gould's Bach or Malcuzynski's Chopin. The sonatas are a revelation, songful, unsentimentally lyrical and rhythmically perfect. The Op 109 Andante is a stunning illustration of the depth and beauty of the rendition, as indeed is everything on this disc. Perhaps Grimaud's impact will mostly be felt in Beethoven.

Helene Grimaud is a French pianist who plays as though she was German. Her warm, lyrical playing reminds me of Arrau's and Kempff's. with a bit of Brendel's intelligence thrown in for good measure. In yet another fine recording, she shows that she can play Beethoven as well as the great German pianists I've mentioned. I can't help but wonder what a complete Beethoven concerto cycle with Masur and the New York Philharmonic would sound like. This sublime, well-engineered recording of Beethoven's 4th Piano Concerto is a tantalizing glimpse. Her fine technique harnesses her rich emotions, which she lets loose at appropriate moments, such as the rousing rondo (third movement), never once missing a note. And this fine version of the 4th Piano Concerto is coupled with two of Beethoven's last three sonatas; these are also tantalizing glimpses into what a Helene Grimaud Beethoven piano sonata cycle would sound like. Unlike the noted French pianist Pommier who plays Beethoven's music as though it was composed by Haydn or Mozart, hers would be a lyrical Romantic tour de force.

Speaking of Masur and the New York Philharmonic, they are fine, unassuming accompanists. Their performance has to rank as one of the best they've given on behalf of an accomplished soloist like Ms. Grimaud (Only their collaboration with violinist Maxim Vengerov on Teldec's recently released recording of Dvorak's Violin Concerto might be better.). Once more, this has to rank as among the highlights of Masur's tenure as music director of The New York Philharmonic.

Within the liner notes are a notes describing Ms. Grimaud's devotion towards wolves. Animal lovers of all kinds will be delighted. I commend her keen understanding of the wolf's importance as a key player in forest ecosystems around the globe, especially here in North America. Regarding her devotion towards music and wolves, I can only say je vous aime!

I have listened to this piece on my cart radio for the first time, and was completely taken by it, having not known the existence of a pretty face behind the piano. The thing about Beethoven for me is the dualism between the compelling and the commanding. One needs to have both faculties at full capacity in order to penetrate the sheer cliffs that are interpreting a Beethoven. HG's way of handling this rough terrain is by means of tempo and pressure. Her stamina in the second movement, and the way she explodes with just the right amount of control in the third is a true triumph. Highly recommended

Helene Grimaud has mastered this Beethoven concerto with unusual and rare skill. The first notes, the introduction to the first movement, are played with the precision and emotion that Beethoven must have intended. The cadenza in the first movement is the longer, more difficult one and is played without any flaw--a small miracle given the live recording. The last movement is done with the same feeling as the first--quite a challenge given its rapid rhythm and flourish of notes. But Helene succeeds at this challenge with gusto and artistry.

The 4th is my favorite of Beethoven's 5 piano concertos. I have loved it since I first heard it over 40 years ago and find this performance of it delightful. For some unknown reason I find that lesser-known pianists -- such as Grimaud currently is -- sometimes capture this concerto's exquisite subtlety and lyricism better than many big-name stars do.

The two piano sonatas are also played quite well. Sonata No. 31 (Opus 110) is a particular favorite of mine and I've never heard it played better.

Helene Grimaud is a very interesting and unique artist. For one thing she is quite pretty; for another she raises wolves. More important, in her teens she dropped out of the Paris Conservatory for a while because she wanted to concentrate on practicing substantial repertoire pieces rather than the lessons assigned by her conservatory teachers. Grimaud's individualistic approach seems to be working: she appears to be on the verge of a substantial career. If you haven't heard this fascinating young pianist yet, this CD would be a good place to start.

I have not been knocked out by Grimaud's Bach and Rach, and I have not heard enough of her Brahms and other Beethoven to say; but this reading of op 109 is extraordinarily fine, to my mind. (Heard it on the radio.) Effortlessly powerful, clear, nonetheless inward but still unflagging throughout (which is not so common in this sonata). I don't think I have been so taken by a 'new' Beethoven pianist since Kovacevich, especially his first round in the late 1960s and early 1970s (as Stephen Bishop). And I'm not sure he ever did 109, though his 110 and 111 remain at the peak, in my view. Indeed, Grimaud resembles Kovacevich in any number of ways, including that clanging tone and color range. I must check out her 110 and the Brahms PC 1; can't take more Beethoven piano concertos, not at the moment anyway.

I bought the albun based on the Grammophone recomendation, and yes, atracted to the wolf history.

The performances are very good, but they don't have the heart I was expecting.

The third movement of the piano concert No 4 is the high point for me.

Kurt Masur does a nice job, but nothing to write home about.Recording sound is excellent.

Why 4 stars and not 3? Because the CD is flawless, it just lack heart.

Recording sound is excellent

Lovely, artful and technically superb in all aspects and for all pieces recorded. Must now see if she has recorded Beethoven's moonlite sonata.

ONE MAN'S VIEW: This is some of the most fluid, delicate and sure playing you'll hear.
It's like a priceless, strong weave that leads us off into the Godworlds.
Pure mastery and ease. Paul Twitchell might have called it "effortless effort."
The orchestra sounds fine as well!
I also suggest Arrau's set of the sonatas of LVB - and his concerti.
--- other great piano solos: by John Paris...George Winston (MONTANA LOVE SONG), and
L. Fleischer (Two Hands).

Helene Grimaud, in her live recording of the concerto, has allowed us, the amateurs of classical piano music, to share and even exult in her accomplishment. From her whispered, almost tender commencement through her inimitably disciplined yet personalized expression throughout the concerto,Helene at last surges with the N Y Philharmonic to a perfect finale. Technical critiques may be found elsewhere. However, for those who seek the joy and awe of piano genius, Helene Grimaud's latest offering will be a treasured possession indeed.