Customer Reviews

Schumann/Grieg: Klavierkonzerte (Piano Concertos)

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

 

 

Zimerman's trademark crystalline articulation and sumptuous tone is mesmerizing and is what draws me to his music. His performance of the Schumann concerto breathes such effervescent vitality that it sparkles like diamonds. The main theme is wonderfully thrown back and forth between Karajan and Zimerman, neither is overbearing, but instead perfectly balanced and symbiotic. Karajan's hold on the young Zimerman is obvious because the music is so seamless. One gets the impression that Zimerman is playing at half his intensity to ensure the artistic integrity of the piece is not compromised by turning it into a virtuoso showcase. This observation is supported by his coruscating performance of the cadenza. I have never heard the Schumann cadenza played with such abandon and white hot intensity before. It's such a wonderful climax that the best way to describe it is --orgasmic. His 2nd and 3rd movements are equally evergreen and characteristically 'Zimermanesque'.

The Grieg concerto is one I grew out of because of its familiarity. Zimerman's elegant, refined style brings such a sublime, plaintive atmosphere to the piece that it evoked nostalgic memories of my youth when I discovered these treasures for the first time. I'm familiar with Anda's, Richter's, Rubinstein's and many others (I can't rememember them all) performance of the concerto. All of them were great, but none of them piqued my attention like Zimerman's. His style is the perfect balance of refined elegance and virtuosity for me.

This coupling of these two showpieces is by far the best I've heard. It makes Murray Perahia sound anemic, and his recording is not bad...... just bland by comparison. I like to hear these works performed with a certain amount of passion, and Zimerman provides plenty of that. But equally impressive is his flawless technical skill. Sonics are outstanding, and von Karajan and the Berlin Philharmonic are in excellent form. Get this one even if you already have recordings of these works.

I compared almost 30 interpretations of the Schumann piano concerto and ended up with 3 : Abbado/Pires, Karajan/Zimerman and a surprising one : "Robert Schumann: Meisterwerke Zum Kennenlernen" with the czech pianist Marian Lapsansky. 1) Pires plays with so much delicacy and introspection, the flow of keytrokes is seamless : very refreshing and compelling esp. for the 1st & 2nd movement. 2) Zimerman displays great virtuosity without playing too fast, esp. in the 3rd movement which is arresting. 3) the czech interpretation lays in-between. I was surprised an unknown interpretation could be that good.

Both concertos are played somehow slowly compared to what is usual. These are performances in which elegance counts more than excitement. If you don't like such well-mannered playing, please remove more stars.
The Grieg concerto suffers that way; it is very much pomp here, even with a considerable stress and agitation at chosen moments. The feeling is very much of sitting in a concerto hall among a lot of well-dressed people. Production values are high and Karajan knows very much about sound, this is however not enough to save me from boredom.
But this is not so much about the Grieg concerto. It is more about the Schumann concerto. Schumann was an uneven composer, who made many works that wouldn't be solid enough if they missed the stamp of Schumann, however is this concerto one of his few masterpieces, one of the most solid piano concertos made in the 19th century. It is a more introvert work, which I can take in many different performances. The slowness here doesn't feel slow to me, but somehow less meaningful than by the Pires/Abbado performance, which is even slower in the outer movements, but more meaningful.
This Zimmerman/Karajan is very elegant, and mysteriously warm. Although it wouldn't be my first choice, I wouldn't like to miss it either, as I return to it now and then.
A rougher and more exciting and concentrated recordning of both concertos is the Ormandy/Entremont/Serkin. This is perhaps the best Grieg and a very good Schumann, too. The sound is not state-of-the-art, anyway good enough to me.
The Michelangeli/Fruebeck de Borgos (Grieg) has too bad sound in my opinion.
Very special is the Vogt/Rattle, both concertos, a very expressive, almost dark Schumann and a brisk and easy Grieg.
The Pires/Abbado (Schumann) is a very consciously played, something pure, clean, rounder and less dark than the others, indispensable. That would be my first choice, if I had one.

Two oft-paired piano concertos are available together on this album played by one the worlds best orchestras with on of the best piano players of recent times. This is very well recorded, with the BPO at their best producing a very full sound. Zimmerman plays with great feeling and panache.

However, the Schumann Concerto is sometimes uneven in parts with the fortissimos emphasised a bit too much at times and occaisionally Zimmerman's playing is a bit uneven especially in the third movement. If you want a truly superlative recording of the Schumann piece try Sir Colin Davis' recording with the BBC Symphony Orchestra (Steven Kovacevich piano).

The recording of the Grieg concerto cannot be faulted and must represent one of the best recordings of this particular piece on CD.

The Schumann and Grieg are frequently paired on recordings and for good reason. They kind of book-end the great era of romantic piano concerti. Both are in A minor and the Grieg mirrors in every respect the Schumann in terms of structure and thematic development. Zimerman again (as in the Ravel concerti) is astounding in his ability find new rhythmic accents which lend unexpected freshness that are exciting but still respect the composer's intentions. I have never heard the 1st movement cadenza in the Grieg played with more passion and thunder and the same holds true for the Schumann. Von Karajan surprises too with uncharacteristic vitality in all the tempi, even if he does hold the final orchestra tuttis almost to the breaking point. All in all, a thrilling recording proving again what a stunning virtuoso Zimerman is. Don't pass this up--a must for any collector of the romantic piano concerto. They will sound brand new to you, no matter how many recordings you already have of these timeless masterpieces.

Perfect combination of two concerti that complement each other. Powerfully played, inspiring to listen to.
One of my favorite CDs now.

This recording truly encompasses dynamic range to the extreme. Here we are presented with 4 astonishing elements: one of the greatest conductors to ever lift a baton; one of the greatest pianists to grace a keyboard (and at quite a young age, too); a famed orchestra that has been one of the world's leading orchestras for over 100 years; and a wonderful instrument on which these masterpieces are skillfully played. The pianissimos are graceful and articulate while the fortissimos are grand and full. The technique of Zimerman is flawless and pairs well with his masterful musicianship and expression. Karajan brings soloist and orchestra together in a perfect combination of elements to create a well-rounded recording of two of the supreme concerti for piano in the keyboard repertoire. This is definitely a must for fans of the Grieg Concerto, so don't hesitate in purchasing this recording!

There have been a couple of reviews that should be dispelled. The tempos chosen are perfect and not too fast......Karajan reigns in the young Zimerman's virtuosity to musical ends. Recording quality is excellent. A full blooded reading of both concertos that compares favorably with about every other major rendition available in the catalog. The Berlin Philharomic are in top form here. Highly recommended!

I'm listening to this CD now and I have to say it still holds well after so many listens over the years. The recording is also of excellent quality which used to be the hallmark of DG (though sadly in recent years no longer so.) If you're looking for a well recorded, well played recording of these two concertos, you can't be far wrong with selecting this disc.