Piano Concerto No.4 In G Major, Op.58: Allegro moderato
Piano Concerto No. 4 In G Major, Op.58: Andante con moto
Piano Concerto No.4 In G Major, Op.58: Rondo - Vivace
Piano Sonata In E Major, Op. 109: Vivace, Ma Non Troppo
Piano Sonata In E Major, Op.109: Prestissimo
Piano Sonata In E Major, Op. 109: Andante Molto Cantabile Ed Espressivo: Gesangvoll, Mit Innigster Empfindung
Piano Sonata In A Flat Major, Op. 110: Moderato Cantabile Molto Espressivo
Piano Sonata In A Flat Major, Op.110: Allegro molto
Piano Sanata In A Flat Major, Op.110: Adagio Ma Non Troppo. Fuga : Allegro Ma Non Troppo
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 Telde... more »c, 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« less
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
"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!"
Joyful & Visionary
music fan | Amman, Jordan | 10/25/2002
(5 out of 5 stars)
"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."
Regardless of the pretty face - a commanding performance
Yonatan Glaubman | Ramat Gan, israel Israel | 01/31/2001
(5 out of 5 stars)
"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"
Very good performances of great music.
D. R. Schryer | Poquoson, VA United States | 09/06/2000
(4 out of 5 stars)
"The 4th is my favorite of Beethoven's 5 piano concertos. I have loved it since I first heard it over 40 years ago and find this performance of it delightful. For some unknown reason I find that lesser-known pianists -- such as Grimaud currently is -- sometimes capture this concerto's exquisite subtlety and lyricism better than many big-name stars do.The two piano sonatas are also played quite well. Sonata No. 31 (Opus 110) is a particular favorite of mine and I've never heard it played better. Helene Grimaud is a very interesting and unique artist. For one thing she is quite pretty; for another she raises wolves. More important, in her teens she dropped out of the Paris Conservatory for a while because she wanted to concentrate on practicing substantial repertoire pieces rather than the lessons assigned by her conservatory teachers. Grimaud's individualistic approach seems to be working: she appears to be on the verge of a substantial career. If you haven't heard this fascinating young pianist yet, this CD would be a good place to start."
Brilliant! A masterpiece of expression and skill.
Yonatan Glaubman | 09/22/1999
(5 out of 5 stars)
"Helene Grimaud has mastered this Beethoven concerto with unusual and rare skill. The first notes, the introduction to the first movement, are played with the precision and emotion that Beethoven must have intended. The cadenza in the first movement is the longer, more difficult one and is played without any flaw--a small miracle given the live recording. The last movement is done with the same feeling as the first--quite a challenge given its rapid rhythm and flourish of notes. But Helene succeeds at this challenge with gusto and artistry."