Customer Reviews

Grieg, Schumann: Piano Concertos

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There is no shortage of the coupling of Grieg & Schumann's piano concertos, and this one surely is among the very best, along with Lipatti, Fleisher and Moravec. Kovacevich's Grieg is regarded by many as the best ever, though I have to give the nod to Lipatti/Galliera. The Schumann is equally compelling and ranks up there with those of Rubinstein/Leinsdorf, Lipatti/Karajan, Gieseking/Furtwangler, Fleisher/Szell and Argerich/Harnoncourt. So you have two top tier concertos on one disc which should be in every classical music library. Plus the sound on this one is better than any of the other above mentioned.

I will keep this short and sweet. Both of these concertos are standards that everyone has heard. This recording continues to be reissued for the simple reason that the performances are breath taking. In particular, the Adagio within the Grieg Concerto. It would be reason alone to own this CD. The music and playing combine for one of those sublime experiences in which the listener is transported to another realm. I have heard no other interpretation that is as compelling or thought provoking. In my opinion, the Davis/BBC and Kovacevich recording is the "reference standard" by which other performances are measured.

Pace an earlier reviewer, "the" Grieg concerto to own isn't this one -- although the Gramophone has pushed it like hard drugs since its first appearance in 1972 -- but Sviatoslav's fiery version on EMI. If elegance is preferred, there is Gieseking and Karajan (also on EMI but in creaky mono). Kovacevich and Davis were lucky in their timing, because thanks to a pop hit, "Asia Minor," that has blasted the main theme of the Grieg across the teenage airways, the work had fallen a bit into the slums. Kovacevich took out the bombast, added careful, polished fingerings, and blended beautifully with Colin Davis's considerate, musical accompaniment. Frankly, I like my blood to be stirred more than it is here, but the two, pianist and conductor, make for a strong yet civilized partnership. Philips has gotten a good balance between piano and orchestra as well, but I her a touch of distortion at the big climaxes.

The Schumann concerto is a greater work, and far more often performed. Here Kovacevich passed through the crucible, because giants have recorded this music, including once g=again Richter and Gieseking. He had the technical polish and good taste (not always a compliment), but what really stands out is the tenderness and quiet of the phrasing, matched by a orchestra that is at times hushed and hesitant. If you want a bravura performance along the lines of Argerich, this isn't it. Her fiery spontaneity and thrilling passagework are riveting, yet there is room for another way. When Davis remade the Schumann with Murray Perahia, the same restraint prevailed, but I think the results were more sparkling. Nonetheless, this is a signature recording from Kovacevich, and if you place "civilized" high on your list of musical virtues, it is ever present here.