Piano Concerto No.4 in G, Hob.XVIII:4: III. Finale (Rondo - Presto)
Piano Concerto No.3 in F, Hob.XVIII:3: I: Allegro
Piano Concerto No.3 in F, Hob.XVIII:3: II. Largo cantabile
Piano Concerto No.3 in F, Hob.XVIII:3: III. Finale (Presto)
Piano Concerto No.11 in D, Hob.XVIII:11: I: Vivace
Piano Concerto No.11 in D, Hob.XVIII:11: II. Un poco adagio
Piano Concerto No.11 in D, Hob.XVIII:11: III. Rondo all'Ungarese (Allegro assai)
Haydn's concertos aren't heard that often, but on the evidence of this disc, they ought to be. Most of his 14 concertos for harpsichord or fortepiano are probably spurious, but the three played by Andsnes and his fine band... more » have the scholarly seal of authenticity. That seal refers to their provenance, not the modern piano Andsnes plays with high spirits and wit. The best known is the D Major, identified as No. 11. It's captivating here, as Andsnes revels in the vivacity of the outer movements and sings the adagio with welcome warmth. The other two works, while lesser, are highly enjoyable. Good sound adds to the disc's pleasures. --Dan Davis« less
Haydn's concertos aren't heard that often, but on the evidence of this disc, they ought to be. Most of his 14 concertos for harpsichord or fortepiano are probably spurious, but the three played by Andsnes and his fine band have the scholarly seal of authenticity. That seal refers to their provenance, not the modern piano Andsnes plays with high spirits and wit. The best known is the D Major, identified as No. 11. It's captivating here, as Andsnes revels in the vivacity of the outer movements and sings the adagio with welcome warmth. The other two works, while lesser, are highly enjoyable. Good sound adds to the disc's pleasures. --Dan Davis
Splendid Performances Of The Three Haydn Piano Concerti
John Kwok | New York, NY USA | 12/19/2001
(5 out of 5 stars)
"Is Leif Ove Andsnes the greatest pianist of our time? I strongly doubt it. Yet every recording I've heard from him is replete with his brilliant technique and lyrical phrasing on the keyboard. This is yet another excellent example, which proves that he feels as comfortable playing Haydn as he does with Grieg's or Chopin's Romantic piano scores. Yet his playing isn't at all Romantic here, but more of a subtle, almost delicate, nature, which is fiery only when called for by the score. The Norwegian Chamber Orchestra offers ample support, never overshadowing Andsnes' playing. The sound quality is exceptional."
Authentic Haydn
Recusant | 10/02/2008
(5 out of 5 stars)
"These are exceptional performances, of great emotional maturity, on a par with his collection of Haydn sonatas. The majestic concerto in D is for once not taken too fast. We are much in debt to the musicality of Mr Andsnes, and the skill of the recording technicians."
Sparkling haydn
Ivor E. Zetler | Sydney Australia | 09/08/2009
(5 out of 5 stars)
"Compared to Haydn's symphonies, piano sonatas and string quartets, his piano concerti are relative rarities. Athough they do not deserve to be ranked together with Mozart and Beethoven's masterpieces in the same medium, they are certainly worth hearing.
On the evidence of this sparkling CD, the 3 piano concertos as heard here are shortish, tuneful and pleasant affairs. Andsnes as conductor and soloist makes the most of the works. His lively and alert pianism is a joy to the ears, as is the beautifully clear and detailed sound.
This is one of those discs that you might elect to play after a tiring day when you need to relax and chill out. A treasurable collection."
Leftover Ant's nests.
Angus W. Grant | Melbourne, Australia | 06/15/2009
(5 out of 5 stars)
"This disc is a perfect example of how to make a disc worth listening to in a thoroughly saturated market. Choose repertoire that has more or less been ignored by artists and record companies and treat it as though you have discovered something new and exciting, and that is excatcly what you will get. At no time listening to this will you get a sense of these works being poor relations of Mozart's concertos.
There is a wonderful quiet, intensity to these performances achieved through brisk tempi, delicate touch and wonderfully attentive accompaniment. Grumpy Grabowski misses the point when comparing these recordings to Richter. Andses has made an aesthetic decision by playing the works in this way and the sense of unity thoughout the disc is a big part of its success. His playing is not about making personal statements. The slow movements are sometimes ravishingly cool.