Customer Reviews

Brahms: Piano Concerto No.1 ~ Grimaud

5 star:		(7)
4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This performance reveals a side of Brahms' 1st Piano Concerto that one does not normally hear. Most performances present the first movement as very stormy and bombastic, albeit beautifully so. Grimaud and Sanderling, however, take a somewhat slower tempo than most and, in doing so, reveal moments of lyrical tenderness that one is not used to hearing -- yet with no loss of grandeur. The second movement is appropriately lyrical but not excessively slow and the finale presents a stirring conclusion to a highly satisfying performance. Clearly Grimaud is a pianist whose work is worth following.

Among my 17 versions of this concerto (including the two of Arrau, Kovacevich and Weissenberg) this ranks among the best of the crop. Unfortunately, the timpany and horn parts are way too subdued, but Grimaud's superb interpretation compensates for that. The slow tempi don't bother me. They remind me of Richter-Haaser's memorable performances of both Brahms concerti reflecting the weighty character of the piece. I recently heard Grimaud playing the concerto live with Ashkenazy conducting. The tempos were faster, baut that does not take away anything from this CD. The performance was as memorable as those live performances of Curzon, Arrau and Richter-Haaser. Grimaud is an impressive Brahms interpreter, perhaps the most outstanding one since since Julius Katchen.

If you like Brahms and/or just like piano repertoire, this d-minor masterpiece is a must have. And Ms. Grimaud's recording deserves to be heard as well. My favorite recording of this work so far is Alfred Brendel's. Leif Ove Andsnes has a wonderful recording as well. Be warned, some people complain that Grimaud's tempo for the 1st movement is too slow (alsmot as slow as glenn gould's infamous performance with leonard bernstein as conductor). If I could play the Brahm's concerto myself, I wouldn't play it as slow as Grimaud, but she still pulls it off very convincingly and passionately.

With a handful of top notch pianists, both young and old each hashing through this highly complex concerto piece, one asks, why Grimaud? If we leave the beauty of her lyricism, her strength and her artistry aside, one can not help but be in awe of her instinctive understanding of Brahms as a composer. What I find even more fascinating with this recording is that the Pianist, born and raised in France, seems to understand German music, perhaps the Germanic sound expressionism far better than her counterpart- the German orchestra itself.

This recording reveals a tragic grandeur of the concerto that
seems to have escaped other performers. The broad tempo of the
first movement seems just right for this purpose, and there is
an admirable gravity to Ms. Grimaud's playing. Would people one
day talk about this performance in the same hushed tone as
Richter's 1958 performance of Pictures at an Exhibition?

Helene Grimaud, a young pianist, merits serious consideration as a fine interpreter of Brahms. This recording with the legendary Kurt Sanderling conducting the Berlin Staatskapelle deserves the favorable notices it has received in Grammophone's annual guides to classical music CDs. Hers is a vibrant, passionate performance. She may lack Kovacevich's abandon, but is his equal when it comes to lyrical playing and technique of the highest caliber. She is blessed in having Sanderling and the Berlin Staatskapelle as faithful accompanists; the Berlin Staatskapelle's performance is as good as those with their music director, Daniel Barenboim, in their recently released Beethoven symphony cycle. Of the recent recordings I have heard of Brahms' 1st Piano Concerto, this certainly ranks among the best. I don't know whom I adore more - Grimaud the splendid pianist, or Grimaud the devout lover of wolves. Hopefully some of her profits from the sale of this CD will go towards funding her wolf conservation center near New York City.

Only one reviewer below notices what would grab any listener's attention immediately--the snali's pace of Sanderling's first movement. Brahms wrote a long orchestral introduction, but here we must wade through molasses for 4:15 min. before Grimaud enters, and when she does, I hear good but hardly revelatory pianism. In fact, compared to Sanderling's heavy lifting, she seems out of synch with her reserved entrance. However, Grimaud is no keyboard banger, and despite the slow crawl she's able to really perform. I'm afraid I got so tired of the thunderous plodding all around her that I wasn't able to appreciate all her points.

Actually, I was surprised to find that Grimaud's tempos are only 3 min. slower than average in the first movement, 2 min. in the second, and 2 min. in the third, but that's a lot in a work as broad to begin with as the Brahms First. Her Adagio is forceful rather than lyrical, in keeping with her determinaiton not to sound lady-like. Here she's closer to Claudio Arrau than to any other femaile virtuoso. The most conventional movement is the finale, which she and Sanderling seem to agree upon--they match each other in rhythmic bounce and cheerfulness, which makes for an agreeable time and earned my respect far more than what preceded.

In all, I can see why this Gallic powerhouse has a fan club, but I'll wait for other examples of her skill that aren't so hampered by the conducting.

Before I start commenting on the playing, I'll mention that this CD has a mere four tracks, one of which is allocated to applause. For the same price, one can buy Gilels' classic recordings of the 2 Brahms concertos plus some solo items. Hough has also recorded the two concertos for a price less than the cost of this CD. So, does the quality of the playing justify the price? To say that the 1st movement is taken at snail's pace would be a criminal exaggeration. It is taken much, much slower than that. The second movement copes better, and the third hints at being good, but never quite achieves it. Admittedly, Grimaud's playing is fresh and nice-to-listen-to, but apart from that I was disappointed. I fear it may join the dusty corner of my collection alongside Helfgott's disasterous recording of the Rach 3. If you want to listen to a proper recording of this piece, and not just admire the picture on the cover, then try Gilels or Hough. Apparently Curzon's version is excellent, although I haven't listened to it.

this is an enthralling recording. Her collaboration with Sanderling is wonderous. From the majestic beginning (so long before the piano joins) to the end, my attention is rivited.

Truly a brillant performance. Beautiful sounds from a wonderful pianst and beautiful person. The interpetation of Brahms was almost angelic by Helene Grimaud.