Search - Ludwig van Beethoven, Colin Davis, Dresden Staatskapelle :: Beethoven: Piano Concertos 4 & 5 "Emperor"

Superb performances I have returned to many times

Sancho Sánchez | Burwood, NSW Australia | 03/29/2002

(5 out of 5 stars)

"Both recordings have satisfied me enormously. I find these performances so alluring that I have returned to them more often that I care to remember. What a masterly way of coming home for superb musicians like Arrau and Davis. Most rewarding seems to be the maturity, depthness, pause and authority of delivery, from both Arrau and Davis. Sound quality is first class as well. I recall that these recordings, along with the rest of the cycle, won the 1989 Japan Record Academy Award."

An Elegiac, Autumnal 4th, Grand and Knightly 5th

laguna_greg | Guess where in CA USA | 04/05/2009

(4 out of 5 stars)

"Claudio Arrau recorded these Beethoven concerti while in his early 80's. Having played these pieces all his life, his readings here are something of a backward, departing glance after much time spent in their company.



This is most obvious in the 4th concerto. Arrau plays the 1st movement a tick or two slower than he probably did earlier in his life and, certainly, slower than his contemporaries. This choice seems initially to let the air out of the tires a bit while exposing greater beauties further on in the solo part. The leisurely pace is not without pitfalls, however, as a slower tempo poses a greater problem for the orchestra than the piano. The instrumental textures are quite thick and, when played too slowly, it is very easy for the orchestral part to lose its sense of line. Colin Davis does everything he can to support Arrau's singular vision of this movement, and I'm happy to say that he succeeds for the most part. He makes a wonderful ensemble when playing with Arrau, getting out of his way so the piano can really have its say. Arrau avoids the temptation to be rhythmically fussy or tortured, as I've sometimes heard him do in other pieces of the same period. Here he is lyrical and wistful, but thankfully not mawkish or sentimental. The cadenza comes off as more reflective than virtuosic, although there are moments of genuine fire. While I prefer more brio myself, Arrau's choice here argues convincingly for a slightly different approach.



The 2nd and 3rd movements are more conventionally drawn and wonderfully played. The andante is a somber dialogue, the piano pleading with a grim and resolute orchestra. The rondo finale is sprightly and rhythmic with a great variety of touch and expression.



The reading of the 5th concerto is highly extroverted, on the other hand. Arrau and Davis give one of the most sincerely noble and grand renditions of a work that has become overly familiar and possibly overplayed. For example, the 1st movement opening cadenza is often played with very little imagination and/or no color by younger players these days. In contrast, Arrau plays it with a disarming rhythmic spontaneity and actually gives it some shape. The big moments are as big as the piano can possibly give, Arrau squeezing out the very last milligram of sound possible from the instrument, with Davis and company matching him blow for blow. The quiet moments are beautifully projected, and the close is exultant. The 2nd movement is solemnly paced, with moments of great delicacy and lyricism from both parties. The 3rd movement is buoyant, playful and highly colored, although one has the impression that Arrau is occasionally playing slightly behind the beat.



Recording sound quality and balance are excellent. In many ways, a superb recording."