Customer Reviews

Brahms - Piano Concerto No. 1 · Three Intermezzi / Andsnes · Birmingham SO · Rattle

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Leif Ove Andsnes is a technically facile, poetically inclined young pianist who seems to regard music making as a communication with the composer, and the evidence of this has rarely been more evident than on this very fine CD that couples his performance of the Brahms Piano Concerto No. 1 in D minor with three of Brahms' Intermezzi for piano alone. While there are many performances of this concerto on recordings, certainly this Andsnes collaboration with Simon Rattle and the Birmingham Symphony Orchestra now ranks among the finest.

Leif Ove Andsnes approaches this concerto with a sense of profound respect, and that is to say that his interpretation seems less about startling the audience than about finding the poetry of the work. His technical ability is equal or superior to his colleagues and he is able to produce the lightning flashes of the fast sections with accuracy and subtle phrasing. In the slower portions he allows the poetry to sing without 'over-romanticizing' the passages. This is a wholly satisfying account of this concerto. And the three Intermezzi Andsnes adds as an encore are simply eloquent.

The Norwegian Leif Ove Andsnes is currently touring the US in both recitals and in performances with the major orchestras. At a recent concert with Esa-Pekka Salonen and the Los Angeles Philharmonic in Disney Hall he offered his interpretation of the Brahms Piano Concerto No. 2, the concerto he is featuring on this current tour. This listener has rarely heard the complete perfection of collaboration that Andsnes and Salonen created in this performance. All of the power of the first two movements was exciting and yet never 'over the top' - the temptation many pianists embrace. Andsnes is at all times in conversation with the orchestra, picking up phrases or leading phrases with the various sections of the orchestra with a sensitivity rarely heard in performances today. His 'duet' with the cello in the third movement was as tender and arching and finessed as any this listener has ever heard. One can only hope that Andsnes (hopefully with Salonen and the LA Phil!) will record this Brahms Second Piano Concerto soon.

Among the many recordings available of this great piano concerto this informed and gentle and passionate performance is one that deserves a place in every music lover's library. Highly recommended. Grady Harp, May 08

This is a wonderful performance of Brahms Piano Concerto #1 with excellent playing by both Leif Ove Andsnes and the Birmingham Symphony conducted by Simon Rattle. The Maestoso and Rondo movements are powerfully dramatic without sounding crazed or out of control. The Adagio is serene and expressive, and absent of syrupy-ness. Andsnes gives a brilliant, very natural-sounding interpretation, and Rattle and the Birmingham Symphony do an admirable job of supporting him.

The recording quality is excellent throughout. One doesn't get the sense of the soloist being artificially amplified, as is the case with so many concerto recordings. This sounds as if you are sitting in the hall listening. It seems to truly take advantage of the Compact Disc's excellent dynamic range.

Brahms's Three Intermezzi at the end of the CD are delightful and profound. Andsnes always does a marvelous job of letting the compositions guide his performance. When listening, you get a sense of the composer's voice coming through the music.

Sir Simon saw the need to remake the Brahms First Cto with the Belin Phil. and Krystian Zimerman last year, but listening to this bold, adventurous account that he did years earlier in Birmingham, I wonder if that was wise. Zimerman and Rattle feed off each other's predileciton for fussiness and micromanaging of phrases, while in this reading that is kept to a minimum. I had never completely warmed up to Andsnes in the half dozen or so CDs of his that I've sampled, but he's tremendous here -- in total command technically, making comparisons to Horowitz actually credible.

The CBSO isn't a world-class orchestra, and the strings turn a bit thin and screechy during the most difficult loud passages in the opening. After that, however, they join in perfect synch with the joyous conception shared by conductor and soloist. When British critics swoon over every note Rattle conducts, I turn a skeptical ear, but this time the raptures are justified. This is a great recording of a notoriously cumbersome piece. Nothing sounds awkward here, however -- the concerto feels like a masterpiece from beginning to end.

I wish I could give this disc the same glowing affirmation other reviewers have done, but I have some reservations about the disc. There is no question that Leif Ove Andsnes plays the Concerto very well. He has an excellent sense of pacing, and his articulation is clear and beguiling. Unfortunately, Rattle's contribution is not up to this level. First of all, his orchestra sounds scrawny, especially the strings. There are a few tuttis where the strings create something of a frisson, but in the main they are dry and wiry. And Rattle's accompaniment is much too straitlaced, with little feeling for the ebb and flow of the music. One only needs to listen to one of George Szell's recordings of this piece to hear what is missing. Often, Andsnes produces a lovely turn of phrase, only to be followed by a pedantically stiff orchestral contribution. To make matters worse, the sound engineering in the Concerto is unpleasantly dry and lacking in warmth. So, this is a recording that has its good points, but which never could be considered a prime recommendation for the work. The Intermezzi are beautifully played and excellently recorded in a Norwegian church.

I've mentioned this before, but it bears repeating: in another decade or two, well before this young man's career is complete, people will be saying the name Andsnes in the same breath with Horowitz, Rubinstein, Serkin, Arrau, and others of the greatest artists of the keyboard.

I saw him this past Monday at Carnegie Hall (with Christian Tetzlaff, an outstanding young violinist), and it is difficult to overstate Andsnes' talent as an artist. There are pianists as technically accomplished, but none that I've heard exceeds his ability to connect with the composer and synergize with his colleagues, whether they are a full orchestra or another instrumentalist.

It is hard for me to comment on the concerto; I think that other reviewers have done so quite ably and I can't think of any more to add to their astute observations.

The intermezzi are what really made me fall in love with Leif Ove. I have a recording of Horowitz playing No. 2, and I find him a bit too smooth, even glib. On this recording, however, Leif Ove seems to have distilled the essence of the compositions. I feel that he plays them not so much as performance pieces but rather as introspections or meditations - the liner notes describe the intermezzi as an eavesdropping on someone's private grief, and nowhere more so than in Leif Ove's hands. Yet he exhibits immaculate control, a total lack of sentimentality or overwrought emotion.

In short, this CD is well worth your consideration and dollars.

The reason I bought this CD is the third movement. It sounds like Horowitz�fs pianism. Actually even now, I listen to it at first to be courage. Andsnes�f powerful and rapid touch isn�ft hidden by the orchestra�fs play of the main theme. Besides, I have never listened to the clear trio that the orchestra plays at this movement. The stress of the cello and contrabass enables it.
By the way, if any CD were estimated truly, its reason would not be the wonderful play, but that it would bring people to the new interpretation or finding of this piece. From this viewpoint, the performance to be estimated should be the second motivation. In contrast to the third, it is very quiet and slow. However, from the beginning the orchestra makes explicit that it is the fugue just like Bach, while the piano shows that the beautiful melody line at the right hand is accompanied with the different tempo harmony at the left hand just as Chopin. This performance notices it to listeners clearly. I appreciates the second highly because of these reasons, even if it is harder to listen than the third.
The second isn�ft fit for the beginners, but the third is the fittest. I advice beginners to listen to the third at first. As the first isn�ft so particular, suppose it as the standard.