Customer Reviews

Tchaikovsky: Piano Concerto No.1/Saint-Saëns: Piano Concerto No.2

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4 star:		(2)
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1 star:		(1)

 

 

I have not been a particular advocate of André Watts; I've heard him bang about in live concert too many times. And I've even heard him play the Tchaik 1 in concert and was not particularly impressed. But earlier today I heard this performance of the First Concerto on our local NPR station, having tuned in at literally bar 5 (perfect timing!) and, not knowing who it was, I listened. And listened. And listened. And kept thinking, who is this? This is good! And even more I was thinking that the aural stage was perfectly managed, with the piano sound seeming to come OUT of the orchestra rather than set way in front. Further, I could hear orchestral detail (e.g., like those two-flute arpeggios just before the final onrush of the first movement) that are almost never heard on recording. So, fool that I am, I sat in my car until the whole thing was over, really curious to find out who the performers were. I was shocked (and uneasy about my own bias) to learn that it was André Watts, with Yoel Levi conducting the Atlanta Symphony. A recording from ten years ago. I was even more dismayed to remember, once I got home, that I OWN this recording--but I couldn't ever remember listening to it, frankly--and I found it, removed the shrink-wrap (sure enough, I HAD never listened to it) and sat down for a complete run through.

My initial impression lasted. Yes, there were some smudges in the last movement (as Watts sometimes does, alas) and some brief odd blurring of the overall sound, also in the last movement, but myt general assessment from the radio lasted.

And then I listened to the Saint-Saëns Second Concerto and, again, I had a very positive impression. No, Watts doesn't make the most of the leggierissimo aspects of the third movement, but overall it's a very creditable performance and he conveys convincingly the declamatory aspects of the piece. What Levi and his Atlantans do is electrifying in both pieces. (I even initially wondered, though I assume these concerti are not really part of his repertoire, that it could possibly be Pierre Boulez conducting because of the care taken with instrumental detail.) Some credit, of course, has to go to the recording engineers; Telarc has long been noted for its sterling sound.

So, the bottom line is that these are valuable recordings of both of these warhorses, and particularly if one wants a more natural sound--no harsh spotlight on the piano--and crystal clear orchestral sound.

But I do go on. This is an excellent release in spite of my biases.

Scott Morrison

I first heard this recording when public radio played Saint-Saens' 2nd. I ordered the album that day. Andre Watts is an absolutely fantastic pianist, channeling incredible energy through the music. Although I enjoy the Tchaikovsky, especially the final movement, his playing of the Saint-Saens is utterly incredible. From the first to the last notes, it is one of the most captivating recordings. Other recordings of the concerto just do not measure up to the tension and beauty he instills in it. A must have!

Andre Watts is one of my favorite pianists. I've heard him both live and on disc, and I must say he is truly a world class pianist. This is one of my favorites, especially for the intensely passionate and elegant interpretation of the Saint-Saens concerto of which there is none better out on market. Watts' has so much sensitivity toward the instrument and amazing versatility. He captures the energy of the Tchaikovsky and the grace of the Saint-Saens concertos perfectly. Highly recommended.

I just heard Andre Watts in concert last night with the Utah Symphony, performing Saint-Saens' Concerto No. 2, and I cannot describe the feelings that came over me during the performance. I rarely stand in ovation - I think that happens too frequently these days - but I was so overcome that I could not remain seated. This concerto has all the elements that make it thoroughly enjoyable: a delightful theme, marvelous spirit, graceful style, and a grand finale finish that takes your breath away. I highly recommend this piece of music so well performed - my only complaint is that CD's can never quite do justice to a performance, but this is a wonderful substitute that I can listen to again and again to relive the memories of a wonderful evening.

I've been looking for a clear-sounding recording of Tchaikovsky's Piano Concerto No. 1 (I previously had the Rubinstein and Cherkassky versions --- they were played well but the recording wasn't that great) and this CD was the answer to my search. Not only is its sound clear, it is also played and interpreted by one of the greatest pianists to grace the 20th century, Andre Watts. And added to this wonderful steal is a beautiful rendition of Saints-Saens Piano Concerto No. 2. Bravo, Telarc!

The version of Tchaikovski's first piano concerto featured on this Telarc disc is good enough, but this recording's main attraction is undoubtedly André Watts' fantastic performance of the Saint-Saëns second piano concerto, which is at least as good as any version that I've heard, and probably better than most. The monumental, cosmic first movement comes through very strongly here; he's no less impressive with the offbeat rhythms of the second movement, and the spectacular presto is perfectly executed. One should not forget to give Yoel Levi and the Atlanta Symphony Orchestra some well-derserved credit: in other recordings of this piece, the soloist and orchestra don't seem to be quite on the same page, but there's no such problem here. I'd be curious to hear Watts perform the four other Saint-Saëns piano concertos.

Are you kidding me ? This is probably one of the worse interpretations of the Saint Saens that I have heard. Having played this concerto with orchestra, I am very familiar with it, and could only bare to listen to the first movement one time before tossing it. I always try and have an open mind with recordings that are new to me, but it's going to take more than an open mind on this one. It sounds like he is in the MUD, or asleep. The opening piano solo is affected and cumbersome. I always have had respect for Mr. Watts, but I don't understand what is going on here. The unusual use of staccato and tempi are very odd. He does not adhere to Mr. Saint Saens' instructions in the score. The sudden accelerando of the 16th note double-thirds is very odd. It's almost like one of those covered wagons traveling out to the old west, but it gets mired in mud and is trying it's best to break loose. It sounds like he is sight-reading the score! The momentum is awkward - VERY affected playing. I am only grateful that I didn't have to watch him play. That would have been worse. The sad thing is, it is not a difficult concerto, and Mr. Watts certainly has the technical and musical chops to play this concerto - I don't understand why these were not employed. Where is Martha Argerich when you need her ? She did learn this concerto, but cancelled the performance. Also, the actual recording is at a very low volume; had to turn the Player up full-blast to hear it. Deutsche Grammaphone it isn't. I want my $13.00 back, please. AWFUL !

André Watts remains one of the concert stage favorites since his auspicious debut at age 16, now some 40 odd years ago. He still commands the respect of the critics and the adoration of the audience, and most importantly he still continues to grow into the works he has elected to keep in his standard repertoire.

This recording made in 1995 with Yoel Levi and the Atlanta Symphony Orchestra remains one of the most satisfying performances of the Saint-Saëns: Piano Concerto No.2 in G minor Opus 22 on record. Yes, the performance of the more popular Tchaikovsky Piano Concerto No.1 receives a fine reading here, but it is the Saint-Saëns that makes the recording one that belongs in everyone's library. At a recent performance of this work with the Los Angeles Philharmonic under guest conductor Rafael Fruhbeck de Burgos the venerable Watts proved that if anything he is more at home with this concerto than ever. His nimble fingers fly over the keyboard in the many rapid passages at speeds that would be daunting to other artists (his lip action also dazzles audiences with his trance-like state during live performance!). Yet he finds the haunting melodies and caresses them with more definition than is usually heard.

Watts continues to grow as a performer and an artist, seemingly more involved in the depth of the works as the years pass. And that is the sign of the great ones. This recording is a fine one and deserves attention. Grady Harp, November 06

As a child, I had the privilege of hearing Andre Watts perform a recital annually. I remember him at the ampitheater at Long's Park, in the auditorium at Millerville University, and I think even outdoors on the square of the city. Through those experiences I would come to know his performances as powerful, athletic, passionate. I remember him executing trills so fast his fingers were just a blur. My father knew Art Reifsnyder, the owner of Reifsnyder's piano store, which would lease out its 9 ft Steinway concert grand for this type of event. So when Andre came to Millerville University, Art introduced me to him. Although he was in a hurry to prepare for the concert, Andre had a warm personality, and a vice like grip for a handshake, and he was gracious enough to take a quick moment to offer an autograph for me.

So I saw this recording in a store and bought it based on my childhood experience, not having heard Andre for a while. And I'm glad I did. The Tchaikovsky is a nice, but like many of the other posters here, I agree that the Saint Saens is what makes this CD shine! There is little if any room for improvement. It is a great combination of power and elegance, each employed appropriately. I would highly recommend this CD!