Beethoven: Piano Concerto No. 4; Piano Sonatas Opp. 109 & 110

Ludwig van Beethoven (Composer), Kurt Masur (Conductor), New York Philharmonic (Orchestra), Hélène Grimaud (Performer)

Product Details

• Performer: Hélène Grimaud
• Orchestra: New York Philharmonic
• Conductor: Kurt Masur
• Composer: Ludwig van Beethoven
• Audio CD (September 21, 1999)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Teldec
• ASIN: B00001SIBN
• Average Customer Review: 4.1 out of 5 stars See all reviews (15 customer reviews)
• Amazon.com Sales Rank: #100,581 in Music (See Bestsellers in Music)

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Editorial Reviews

Amazon.com
If Hélène Grimaud hasn't yet appeared on your radar screen of today's outstanding artists, do yourself a favor and get to know the amazing work of this young French pianist. As with her previous releases on Teldec, Grimaud hasn't set out to occupy a specialized niche of repertory. Instead, in knockout recordings of Brahms and Rachmaninoff, Grimaud's been staking out the prime territory. Any initial reservations about such works being over-recorded are quickly dispelled by the unique poetry and power her imagination brings to them, above all in this marvelous live performance of what is probably Beethoven's greatest piano concerto. Entire readings of the Fourth collapse due to misjudgment of its brief but microcosmic opening five bars of solo piano; listen to Grimaud's eloquent articulation of the all-important rhythm, given without intrusively subjective fuss. Her balance of lyricism against energetic momentum sets the stage perfectly for what is to follow. Masur--in almost telepathic sympathy with the soloist--brings a grandly expansive sensibility to the first movement that allows for deliciously precise details from the New York Philharmonic, without losing sight of the music's dramatic thrust. The disc also includes two of the late sonatas; Grimaud understands their complex emotional fabric and brings both clarity and intensity to her articulation. Especially beautiful is the variation movement of Opus 109, sensitively shaped and unencumbered with a dubious "mysticism." No matter how well you know this music, Grimaud is the kind of artist who can make you rethink and--most importantly--feel again what is taken for granted. --Thomas May

Customer Reviews

Most Helpful Customer Reviews

9 of 9 people found the following review helpful:

5.0 out of 5 stars Joyful & Visionary, October 25, 2002

By	music fan (Amman, Jordan) - See all my reviews

Utterly compelling account of this most beautiful music. Grimaud plays with profound insight of the sort encountered in Gould's Bach or Malcuzynski's Chopin. The sonatas are a revelation, songful, unsentimentally lyrical and rhythmically perfect. The Op 109 Andante is a stunning illustration of the depth and beauty of the rendition, as indeed is everything on this disc. Perhaps Grimaud's impact will mostly be felt in Beethoven.

12 of 13 people found the following review helpful:

5.0 out of 5 stars A Great Beethoven 4th Piano Concerto, April 13, 2001

By	John Kwok (New York, NY USA) - See all my reviews (TOP 50 REVIEWER)    (REAL NAME)

Helene Grimaud is a French pianist who plays as though she was German. Her warm, lyrical playing reminds me of Arrau's and Kempff's. with a bit of Brendel's intelligence thrown in for good measure. In yet another fine recording, she shows that she can play Beethoven as well as the great German pianists I've mentioned. I can't help but wonder what a complete Beethoven concerto cycle with Masur and the New York Philharmonic would sound like. This sublime, well-engineered recording of Beethoven's 4th Piano Concerto is a tantalizing glimpse. Her fine technique harnesses her rich emotions, which she lets loose at appropriate moments, such as the rousing rondo (third movement), never once missing a note. And this fine version of the 4th Piano Concerto is coupled with two of Beethoven's last three sonatas; these are also tantalizing glimpses into what a Helene Grimaud Beethoven piano sonata cycle would sound like. Unlike the noted French pianist Pommier who plays Beethoven's music as though it was composed by Haydn or Mozart, hers would be a lyrical Romantic tour de force.

Speaking of Masur and the New York Philharmonic, they are fine, unassuming accompanists. Their performance has to rank as one of the best they've given on behalf of an accomplished soloist like Ms. Grimaud (Only their collaboration with violinist Maxim Vengerov on Teldec's recently released recording of Dvorak's Violin Concerto might be better.). Once more, this has to rank as among the highlights of Masur's tenure as music director of The New York Philharmonic.

Within the liner notes are a notes describing Ms. Grimaud's devotion towards wolves. Animal lovers of all kinds will be delighted. I commend her keen understanding of the wolf's importance as a key player in forest ecosystems around the globe, especially here in North America. Regarding her devotion towards music and wolves, I can only say je vous aime!

8 of 9 people found the following review helpful:

5.0 out of 5 stars regardless of the pretty face - a commanding performance, January 31, 2001

By	Yonatan Glaubman (Ramat Gan, israel Israel) - See all my reviews

I have listened to this piece on my cart radio for the first time, and was completely taken by it, having not known the existence of a pretty face behind the piano. The thing about Beethoven for me is the dualism between the compelling and the commanding. One needs to have both faculties at full capacity in order to penetrate the sheer cliffs that are interpreting a Beethoven. HG's way of handling this rough terrain is by means of tempo and pressure. Her stamina in the second movement, and the way she explodes with just the right amount of control in the third is a true triumph. Highly recommended