Schumann: Piano Concerto; Tchaikovsky: Piano Concerto No. 1

Robert Schumann (Composer), Pyotr Il'yich Tchaikovsky (Composer), Sergiu Celibidache (Conductor), Munich Philharmonic Orchestra (Orchestra), Münchner Philharmoniker Orchester (Orchestra), Daniel Barenboim (Performer)

Product Details

• Performer: Daniel Barenboim
• Orchestra: Munich Philharmonic Orchestra, Münchner Philharmoniker Orchester
• Conductor: Sergiu Celibidache
• Composer: Robert Schumann, Pyotr Il'yich Tchaikovsky
• Audio CD (February 11, 2003)
• SPARS Code: DDD
• Number of Discs: 1
• Label: EMI Classics
• ASIN: B00006YX6R
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)
• Amazon.com Sales Rank: #190,372 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com
These live recordings are from 1991. Barenboim and Celibidache clearly see the Schumann concerto as the lovely, fresh-as-a-daisy work that it is, while never losing sight of the fact that it is a display piece as well. There's a wonderful energy level throughout, and rehearsals must have been plentiful; there's nary a glitch. The second and third movements practically float. The Tchaikovsky begins big, with those familiar horn calls and punctuation marks stating that this will be a very Russian experience indeed. The climaxes in the first movement are exciting and huge, the cadenza by turns lyrical and potent, and always well-articulated. The middle movement has no bombast; it's played and led as the dreamy piece it is, with the weird, fast middle section practically witty. And the last movement shows itself to be a powerful final statement, although Celibidache gets some charming wind playing from the orchestra during quieter moments. These two artists have been called idiosyncratic but there's little of that in evidence here. The Munich Philharmonic plays gloriously. This CD has a sense of occasion about it which makes it very special. Highly recommended. --Robert Levine

Customer Reviews

Most Helpful Customer Reviews

6 of 8 people found the following review helpful:

5.0 out of 5 stars Top recommendation., January 27, 2004

By A Customer

Wonderful display of conducting genius. Here you find Celibidache, with exceptional results, treating the piano as just another integral member of the orchestra. A truly remarkable feat of control and conviction.

0 of 2 people found the following review helpful:

5.0 out of 5 stars Celibidache pulls a minimum of slow-poking, and Barenboim is in fine form, November 28, 2008

By	Santa Fe listener - See all my reviews (TOP 100 REVIEWER)

I think the Amazon reviewer is right to say that this live recording from Munich in 1991 has a sense of occaison about it. Barenboim reverts to his younger self playing concertos with the much older Klemperer and Barbirolli -- he's ardent, enthusiastic, and forward moving, with no fussy gestures in the Schumann. Celibidache's tempos are up to speed (did he make this radical change for his soloist?), and the Mnich Phil. plays well. The woodwind soloists in the first movement aren't top drawer, but that's offset by their touching, lyrical phrasing. The in-house broadcast sound is also good, but for all its naturalness, the piano is a bit far back for maximum clarity. The sturdy, emphatic way that Celibidache takes the finale reminds me in particular of Klemperer.

The Tchaikovsky is an oddball pairing -- I'd never want to hear them together in one concert -- nor is this music one associates with Barenboim. I don't hear the Russian-ness that the Amazon reviewer claims to, but Barenboim's style is panoramic and he certainly has all the flair the work calls for. Good musical instincts serve him well, since he's not prepared to fire off cannons a la Richter and Horowitz. It's a shame that Celi suddenly decides to put on the brakes for the middle movement; the expressive purpose is lost on me. You agonize over every note of the opening flute solo as it's squeezed out. The finale gets us almost back up to speed, and Barenboim relishes the chance to race around the course, more a trot than a gallop. I'm impressed that he could remain so involved in this old standby.

The Schumann is a pure delight, and so are the outer movements of the Tchaikovsky. As a non-fan of Celibidache, I msut say that I'm impressed.