Rondo In B Flat Major, WoO6 - Nikolaus Harnoncourt
I. Adagio - Arnold Schoenberg Chor, Erwin Ortner
II. Finale (Allegro - Meno Allegro - Allegro Molto - Adagio Ma Non Troppo - Marcia, Assai Vivace - Adagio Ma Non Troppo - Marcia, Assai Vivace - Allegro - Allegretto, Ma Non Troppo (Quasi Andante) - Presto) - Various Artists
Here's an inspired appendage to the Aimard-Harnoncourt set of the Beethoven Piano Concertos. When new, the Triple Concerto, combining three solo instruments with orchestra, was considered a bold new type of concerto. That'... more »s how it's played here. The solo trio blends nicely with the orchestra, giving the work a chamber music dimension. Once past the slow introduction, Harnoncourt conducts a vigorous, almost rhapsodic performance, with great forward momentum. But the honors go to the outstanding soloists. Aimard etches the piano line with exceptional clarity, Hagen, the cellist of the Hagen Quartet, plays with gorgeous tone, while violinist Zehetmair, who also leads a quartet bearing his name, almost steals the show through his agile playing and phrasing that cuts to the heart of the music. I know of no better performance of this work. The Choral Fantasy too comes off as more than a weird combination of a solo piano fantasia and a choral sketch for the last movement of the Ninth Symphony. And pianist and orchestra play the daylights out of the quirky Rondo in B-flat major. --Dan Davis« less
Here's an inspired appendage to the Aimard-Harnoncourt set of the Beethoven Piano Concertos. When new, the Triple Concerto, combining three solo instruments with orchestra, was considered a bold new type of concerto. That's how it's played here. The solo trio blends nicely with the orchestra, giving the work a chamber music dimension. Once past the slow introduction, Harnoncourt conducts a vigorous, almost rhapsodic performance, with great forward momentum. But the honors go to the outstanding soloists. Aimard etches the piano line with exceptional clarity, Hagen, the cellist of the Hagen Quartet, plays with gorgeous tone, while violinist Zehetmair, who also leads a quartet bearing his name, almost steals the show through his agile playing and phrasing that cuts to the heart of the music. I know of no better performance of this work. The Choral Fantasy too comes off as more than a weird combination of a solo piano fantasia and a choral sketch for the last movement of the Ninth Symphony. And pianist and orchestra play the daylights out of the quirky Rondo in B-flat major. --Dan Davis
Best Recording I've Heard of the Beethoven Triple Concerto
John Kwok | New York, NY USA | 04/24/2005
(5 out of 5 stars)
"I have to go back a while to recall a truly memorable performance of the Beethoven Triple Concerto I've either heard as a recording or live performance. The finest recording I've heard until now was an absolutely rhapsodic, vibrant interpretation with the Beaux Arts Trio and Bernard Haitink conducting the London Philharmonic. However, this new Warner Classics recording is quite simply the most daring, exciting performance of the Beethoven Triple Concerto I have heard with graceful, lyrical playing from pianist Pierre-Laurent Aimard, coupled with fiery performances from cellist Clemens Hagen and violinist Thomas Zehetmair, which revel in the then novelty offered by Beethoven's composition when it was introduced in the early 1800s. Nikolaus Harnoncourt leads the Chamber Orchestra of Europe in yet another spirited, dramatic performance of a Beethoven concerto without overwhelming the remarkable performances of these three splendid soloists. Without question, it is an excellent coda to the Aimard's Beethoven piano concerto cycle released earlier on Teldec, now Warner Classics. To their credit, both Aimard and the orchestra play the Rondo with ample gusto. Together, they offer yet another amazing performance in the Choral Fantasy, demonstrating that it too is a revolutionary work composed by Beethoven, and not merely, a rough sketch for his 9th Symphony's fourth movement. This splendid recording, blessed with exceptional sound quality, will please fans of Pierre-Laurent Aimard, Nikolaus Harnoncourt and the Chamber Orchestra of Europe. I strongly concur with The New York Times's assessment of this recording as among the finest classical music recordings of 2004."
Best Recording and Star Performance of Mr. Harnoncourt
Maria I. Martinez | Miami, USA | 01/28/2005
(5 out of 5 stars)
"After you listen to this recording, you will understand why Harnoncourt is one of the few Maestros alive. Do not loose the opportunity to re-discover and enjoy the Choral Fantasy. Listen to the Piano (Mr. Aimard) and the "conversation" among Piano, Orchestra (COE), Soloist, Singers and Choir (Arnold Schoenberg). This is Beethoven and Harnoncourt in a great performance."
An incredibly rich sonic banquet
gotta_hava_dog | Colorado United States | 11/25/2005
(5 out of 5 stars)
"This recording is fabulous. It's rich, deep and colorful. The piano itself sounds absolutely wonderful. Its clarity and voice are exceptional. Unlike some recordings that sound as if the performers are very pleased with themselves, the performers in this recording sound as though they are playing for the sheer joy of playing and for the sake of the music and not for themselves. It's very refreshing. I first heard this broadcast on our Public Radio Classical station. It was so distinct and unique that I came right to Amazon and bought it. It resonates in your chest, it's so rich. Really outstanding!"
Good, yes, but surprisingly tame from Harnoncourt
Santa Fe Listener | Santa Fe, NM USA | 08/28/2006
(4 out of 5 stars)
"In his cycle of Beethoven symphonies Harnonourt's conducting was aggressive, often aburpt, unnerving, and challenging to absorb. For some reason he drops all that in his recording of the Triple Concerto and Choral Fantasy. There have been excellent virtouoso readings of the Triple recently with Barenboim and Argerich as pianist. They show more intensity than this quiet-voiced, almost classical version. There's no doubt that the soloists, particularly Aimard, are wonderufl players, but it takes a while for the first movement to catch fire. Every time Aimard is given room to expand, he's brought back down to earth by the more restained Hagen on cello. (To the reviewers below who unanimously proclaim 'best ever,' I can only point to the unsurpassed version under Karajan with Richter, Oistrakh, and Rostropovich, a towering recording.)
In the Choral Fantasy there is an impassioned performance from Bernstein and Rudolf Serkin from the Sixties (Sony), as well as a fine one from Barenboim as both conductor and soloist, in concert with the Berlin Phil. on EMI. By comparison, Aimard is unusually cautious--he prefers restraint over the free-wheeling and totally thrilling spontaneity of Serkin. Harnoncourt remains just as restrained, so despite the all-around excellence of the performers, I can't see this one being anywhere near a first choice.
In sum, both readings fall somewhere in the middle of the pack but are enjoyable and more than competent in all espects. Fine recorded sound, by the way."