Customer Reviews

Brahms: Piano Concerto No. 2

5 star:		(9)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

This is unbelivably good. I have heard this concerto many times live, on record, on tape, on the radio, and on disc. I have never heard it performed this well. My favorite performance had been Pollini's with Abbado in the late 1970s (maybe early 1980s). This surpasses it in every way, which I would not have believed possible. Pollini's technique is perfect. His and Abbado's interpretation, nuances, shading and dynamics could not be better. The orchestra balances the piano just as Brahms always intended. And then there's the sound quality: as acoustically superb as I have ever heard on any disc. This is truly one of the all-time great classical recordings. Do not miss it.

This recording of the Brahms B Flat major concerto is, to my knowledge, the greatest ever captured in the recording history. Pollini is in his usual aristocratic form. But this is only one aspect of his musicianship. His brilliant mastery of the intellectual complexity and emotional intensity of this formidable work are without equal, and all delivered technically flawlessly. Pollini recorded this piece twice with Abbado, the earlier 1977 version is with the Vienna Philharmonic. I find the 1995 live recording to be superior in having greater definition for the different moods and clearer phrasal articulation; and the cello solo projected the melodic line more fluidly and prominently, as it should be. Pollini's October 3rd, 2000 performance of the same piece with the Cleveland Orchestra at Carnegie Hall re-affirmed his exceptional musicianship and technique. Contrary to some, I find "coldness" does not exist in Pollini's piano vocabulary, and in my opinion, he is the greatest pianist of all times and this Brahms recording is a testimony to it. It deserves 6 stars.

Maurizio Pollini shines in this majestic recording of the concerto. I consider this work to be one of Brahms finest and own many recordings of it. However, I have found that the sound and quality of this recording beats ALL of them. This recording is highly recommended to all music lovers. This recording should be one of the cornerstones of anybody's music collection.

Pollini is one of the great enigmas of the keyboard, and it is easy to see why. Many music fans like his playing, but others find it hard to persevere under the aristocratic and rationalist methodology that governs his music making. Indeed, he is one of the most subtle and passionate pianists, although his intellectual appetite is perhaps too exposed in some recordings. However, this is not the case here, as Pollini and Abbado form a formidable rapport to create one of the greatest readings of Brahms 2. The first movement is played with great passion, his phrasing perfectly controlled and understated, his tone superbly hard-edged to create a forceful expressive drive, again displayed in the frustration and anger of the second movement. In the Andante, Pollini plays in a manner anything but cold, his sensitivity clealry evident, his connection with the piece and intellectual drive undeniable - also worthy of mention is the cellist, and orchestra in this movement, their interpretive cohesion with the soloist one of the main factors in the success of this reading. For the final allegro grazioso, Pollini plays with scintillating irony and awareness, the mood swings superbly captured. For those who bang on about Pollini's technique and nothing else, well I can only pity them, for they are missing out on one of the most interesting, moving and profound pianists. Even if one sees no sensitivity, his recordings are treasurable for their intellect alone. Similarly, for those who get kicks out of fast, exciting pianism, he will not disappoint with his indomitable technique (this recording is live, in fact). Coldness is a superficial description of Pollini, for his playing is far too intense and well-conceived to be attributed such presumptuous inanities. It is a pity that some fail to appreciate his countless idiosyncracies and believe that sparkling rubato and lovely soft tone are preferable - why not try accepting a different stand point, that 'coldness' might have a point to it...a fantastic achievement.

It's hard to imagine a more perfect balance of soloist/conductor temperaments than Pollini and Abbado manage here. There's really nothing that goes even momentarily wrong in this live recording. Unfortunately, if you buy the companion CD of Pollini, Abbado and the BPO performing Brahms' **First** Piano Concerto, you'll find it's a real letdown compared to this.

Pollini has been playing this work for many years, and this live recording is excellent. Wonderful playing by soloist and orchestra alike, and the recording is well balanced. The piano is perhaps slightly more forward than one might hear in the concert hall, but make no mistake, the BPO come through wonderfully. The slow movement is especially beautiful. Abado is as ever a wonderful accompanist.

Pollini and Abbado made mid-1970s versions of both concertos on DG (but with the Vienna Philharmonic rather than the Berlin Philharmonic), and those recordings are now available on a DG twofer. I slightly prefer the earlier version of No. 2, apart from perhaps in the slow movement.

That earlier performance has more youthful drive and is more exciting, especially in the first two movements. On the other hand this later one has perhaps greater authority and depth of tone, and the recording is fuller, although the earlier analogue recording still sounds well. The only snag is that the earlier performance of No. 1 is not so good.

My advice is to sample both before buying.

Brahms's No. 2 Piano Concerto is for decades my favourite piano concerto.
It is a breath-takingly beautiful work, and I have naturally listened to well-nigh countless performances of this favourite piece of mine.
My earliest love was the Brendel-Haitink performance on vinyl by Philips. For one reason or other, that was never digitised. Then I fell in love with Emil Gillels's and Jochum's recording (only the No. 2, not the No.1, though). More recently, I find Sviastolav Richter's recording of the work also great in his own way.
Gillels and Jochum builds up a very grand presentation of the work. High in emotional voltage and naturally exciting. Richter's is a much slower version, but minutely detailed and grandly cohesive in presentation. Then there are two versions of this work by Claudio Abbado and Maurizio Pollini.
I would say that both versions are equally good, and should, together with Gillels and Richter's, made a supreme quartet.
Abbado and Pollini, both being Italians, lend much Italianate flavor to the work, some thing which, according to the background of this composition, is a real asset rather than drawback, since this No. 2 Concerto was composed by Brahms after his visit to Italy, and the work was based on his impression of the Italian landscapes, etc. That's why the Abbado/Pollini collaborations of this work always have an extra-bonus of multi-layered colors that most other versions lack.
As one reviewer so aptly pointed out, the earlier version of Pollini/Abbado with the Vienna Philharmonic has more youthful drive, and the orchestra 'sings' better. The Berlin Philharmonic, however, is more sonorous and deep, and the overall result is a piece of more grandeur and maturity.
It depends on which Pollini you like better - the one younger in mid-30s, or the middle-aged maestro. I find both mesmerizing.

I would support and agree with what the person from Houston has said except for one thing: the recording.

While the recording does not put the piano as far forward in the sound picture as the recording of the first does...to me it doesn't sound 100% natural either. I feel and think that at times the piano is to far forward in the sound picture...which at times can mask some orchestral detail. What a shame because the BPO is the best orchestra for Brahms and plays with its customary perfection. Abbado gives great sense of direction, and Pollini plays wondefully.

The disappointment is the recording. Perhaps DG should consider a remix. What you sometimes hear in the recording is not the balance you would get in the concert hall. The BPO should be more balanced in the sound picture.

For this I give 4 out of 5 stars. If it were performance alone it would get 5 out of 5.

One of the most grandiose works in the piano literature written by one of the most important composers in the music history meets here the accomplished mastery of one of the foremost pianists before public today. The great Italian virtuoso Maurizio Pollini plays the Piano Concerto No.2 by Brahms with the orchestral support given by Berlin Philharmonic under Claudio Abbado.

Any new rendition of this kind of masterpiece is justified and becomes valuable only if the performer is able to bring something new to the traditional paths already covered by the forerunners in the past. Maurizio Pollini is fully recommended to such a large-scale work, since his performances always display an impressive gamut of musical and technical skills. Nothing seems too difficult for Pollini. In the works of a certain monumentality he feels at home with an amazing naturalness. His playing style's robustness, his dazzling virtuosity, his romantic fervour and sense of structures are welcome features put here in the service of Brahms's overwhelming concertante oeuvre in B flat major op.83. Despite the fact that in the market there are exceptional old renditions from Sviatoslav Richter, Emil Gilels, Clifford Curzon, Daniel Barenboim, Rudolf Serkin, Vladimir Ashkenazy, Horacio Gutierrez, Elisabeth Leonskaja, Emanuel Ax, Krystian Zimerman or more recent ones signed by Nelson Freire, Stephen Hough or Nicholas Angelich, Pollini's account stand as a cornerstone among them. His intelligent phrasing with great care to nuances and sound inflections , a sense of ample structures and much stamina single out his account and make listeners to consider it actually as a gorgeous account. The dialogue with Berlin Philharmonic under Claudio Abbado - a truly equal and supple partner for Pollini - confirms once more that Brahms's magnificent work can be considered as a symphony with piano obligato.

Fabulous rendition! Five stars!

I'm just Judy Average reviewing a CD that is magnificent "classical" music. That means I won't use expert terminology or describe the performer's talents.

Here's what I will tell you: I have played this CD over and over since the day it arrived in the mail. That means something: 1. That the non-expert in classical music thoroughly enjoys the CD, and 2. The reverse is true--the music is not annoying.

Here are my observations:

1. The recording is live--1997, the Berliner Phiharmoniker, conducted by Claudio Abbado, with pianist Maurizio Pollini. If you read classical music reviews, you know that some peoplle follow orchestras and conductors, some the soloist performer.

Ex. In a Beethoven review I read: I have the Szell CD. What about the Furtwangler? Oh, your collection is bare is you don't have the Toscanini. These are all long-time conductors of their various orchestras. Each fan will passionately defend his/her favorite conductor's version of the music.
Note: If you have just one CD of Beethoven's Fifth Symphony, you haven't even begun to know the music. I'm sure the same must be true of Brahms Piano Concerto No. 2.

2. The first time I heard this piece of music, I was so wonderfully surprised. All I had previously heard of Brahms was his famous Lullaby. This concerto, however, has fascinated me with its complexity.

3. The best compliment comes from my four-year-old great-niece. Before I let them listen to stuff on the radio, I make them listen to some of my music: Celtic Women (boring), Bob Dylan (ooo--eeee--ooo), Phantom of the Opera (they kind of like some of this). I played an aria from my CD of opera arias. Their reaction: They immediately began singing with it--the same reaction I had as a child listening to opera. The music makes you want to sing "opera" too!
But to this music, to Pollini's interpretation of Brahms' Piano Concerto No 2, Carolina said, "Aunt Judy, that's pretty music."

Truthfully, what better thing can I say about a work of "classical" music than it is "pretty music," as a four-year-old would think. This is a child who can sing all the words to "I'm a rock star."

"That's pretty music."

Dedicated to Giordano Bruno, who recommended this CD.