Musik / klaverkoncerter

Complete piano concertos


Anmeldelser (63)


Classics today

2008

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Jed Distler

2008

"In the main, the performances testify to Kissin's nearly superhuman keyboard mastery, as well as to his tendency to put pianistic effect first while gliding over the specific linear qualities of Beethoven's style ... Memorable moments notwithstanding, this release could have been better".


RBB Kultur

d. 30. dec. 2019

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Bernhard Schrammek

d. 30. dec. 2019

"Als Solist für diese Einspielung konnte erneut der niederländische Hammerklavier-Spezialist Ronald Brautigam gewonnen werden ... Die historischen Instrumente, eine akzentuierte Spielweise, manch zügiges Tempo und ein überragender Solist vermögen es, die Ohren neu für Beethovens vielgespielte Klavierkonzerte zu öffnen. Faszinierend sind die vielen Klangfarben, die in der Musik zu hören sind ... Ronald Brautigam spielt brillant, aber ohne Effekthascherei, die Balance mit dem begleitenden Orchester ist durchweg hervorragend".


Klassik heute

d. 3. jan. 2020

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Rainer W. Janka

d. 3. jan. 2020

"Aufnahmen der fünf Klavierkonzerte von Beethoven gibt es unzählige, Aufnahmen mit einem Fortepiano wenige ... Vorzüge dieser Doppel-CD sind die Frische, die Unmittelbarkeit, mit der Solist wie Orchester ans Werk gehen, die Entdeckerlust, diese Musik als vollkommen neu zu erleben. Dabei hält sich das Orchester immer wieder liebevoll-vornehm zurück, um dem Fortepiano den Vortritt zu lassen ... Ronald Brautigam und der Dirigent Michael Alexander Willens sind sich vollkommen einig in der Gestaltungsweise, das teilt sich unmittelbar mit. Das Orchester reizt alle Schattierungsmöglichkeiten der Dynamik aus, überzeugt mit hochpräziser Rhythmik und unerhörter Durchhörbarkeit".


AllMusic

2009

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James Leonard

2009

"In the most meaningful, personal ways, then, Goode is incomparable. Take this 2009 Nonesuch set of Beethoven's five piano concertos performed with the Budapest Festival Orchestra under the direction of Iván Fischer. With a sparkling tone and a whimsical sense of humor, Goode sails through the elegant First and Second concertos. With a massive tone and a monumental sense of form, Goode commands the dramatic Third and Fourth concertos".


Classics today

2009

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Jed Distler

2009

"Richard Goode's long-awaited Beethoven Concerto cycle holds much to admire. For starters, Max Wilcox's production balances the piano and the Budapest Festival Orchestra in a natural concert hall perspective that allows all instruments to speak without being overly spotlit ... On the other hand, the matter-of-fact First and Second concerto Rondo finales fall short of their scampering, witty potential, while the Fifth's small-scaled proficiency in the outer movements may disappoint listeners accustomed to the muscularity and momentum of "big band" Emperors".


Klassik heute

d. 25. maj 2020

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Michael B. Weiss

d. 25. maj 2020

"Klassik Heute Empfehlung: Wer nach einer Version auf alten Instrumenten sucht, in der nicht nur eine formalisierte Rhetorik bedient wird, sondern beim Spiel mitgedacht und mitgefühlt wird, sollte dieser Produktion den Vorzug geben. Und dass die herrlichen alten Instrumente an manchen wenigen Stellen auch offenbaren, wo Beethovens Phantasie der physischen Realität seiner Zeit voraus war, verschafft einen zusätzlichen Erkenntnisgewinn, weshalb hier eine Empfehlung fällig wird".


The guardian

d. 15. juli 2021

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Andrew Clements (musikanmelder)

d. 15. juli 2021

"Covid restrictions prevented those public concerts, but the sessions transferred to the orchestra's performing space at LSO St Luke's, from where they were streamed online, and it's those performances that have now been released on disc by Deutsche Grammophon ... What has remained constant across the decades is the unaffected clarity and beauty of Zimerman's playing - the perfectly even execution of every run, the precise weight of every chord, the compelling articulacy of the smallest details ... By and large, Rattle's conducting is a model of tact and good taste, never drawing attention to itself".


Klassik heute

d. 8. aug. 2021

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Martin Blaumeiser

d. 8. aug. 2021

"Fazit: Zweifellos eine edle, aus pianistischer Sicht sogar kaum zu übertreffende, vorbildliche Darbietung mit wenig Tiefenschärfe im Orchester und ohne Mut zu Extremen - empfehlenswert, aber sicher keine Offenbarung".


MusicWeb international

2018 December

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Michael Cookson

2018 December

"Collectors of Beethoven works have an extensive, often bewildering choice ... Uchida has definitely developed from her 1990s recordings with Kurt Sanderling; these new accounts having a more consistent level of concentration and greater memorability. This high-end merchandise is as beautifully presented as I have come to expect from Berliner Philharmoniker Recordings. With Uchida in such outstanding form I can imagine this being a much-valued set for devotees of Beethoven's Piano Concertos".


DR musik

2008

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2008

"Vurdering: Ugens cd" - "Overgangen fra vidunderbarn til voksenvidunder har ikke været let, for i en periode lød hans spil stift og upersonligt. Men på sin imponerede nye indspilning af Beethovens fem klaverkoncerter folder Kissin sig ud med en ny ro og dybsindighed. Hans udtryksfuldhed har fundet hvile i et naturligt åndedrag. Det er gammeldags Beethoven, man får at høre, for Kissin bekender åbenlyst at han har en romantisk indstilling til kunst".


MusicWeb international

2020 July

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Stuart Sillitoe

2020 July

"This release may be the fourth of the complete piano concertos [this year]. There are two with fortepiano, although this recording is more complete: it includes not only the B Major Rondo but the D Major Concerto Op. 61a. Gottlieb Wallisch employs three original period fortepianos ... This is a really useful and enjoyable set. Gottlieb Wallisch and the Orchester Wiener Akademie give strong and committed performances under the direction of Martin Haselböck. The tempi are generally swifter than the norm, and that leads to some exciting passage work and scintillating playing ... People who insist on modern instruments will probably complain about the pianos, but their sound is generally very pleasing".


Presto classical

d. 16. juli 2021

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James Longstaffe

d. 16. juli 2021

"Recording of the week: Zimerman has recorded these concertos before, and as magnificent as those performances with the Vienna Philharmonic are, if I had to compare the two I would say that this new set is even more alive with freedom and spontaneity ... Throughout all five concertos there is a palpable feeling of joy and elation about the very act of being able to make music. This exuberance is one of the many strengths of this spirited set of performances".


NDR.de

d. 11. juli 2021

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Marcus Stäbler

d. 11. juli 2021

"CD der Woche: Mit seinem fein differenzierten Anschlag ertastet er ein breites Spektrum an Nuancen; es reicht vom innigen Gesang bis zur klirrenden Härte ... Trotz des massigen Aufgebots formen Rattle und seine Sinfoniker aber auch wunderbar weiche und leise Momente, wie im Adagio aus dem fünften Konzert".


MusicWeb international

2021 August

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Stephen Greenbank

2021 August

Recommended: This isn't Zimerman's first recorded traversal of these concertos. He visited them with the Vienna Philharmonic back in 1989 ... All the qualities I find in Zimerman's playing are here, pianism of aristocratic bearing and refinement. One can only marvel at the pristine finger work and clarity of execution. Another endearing aspect is the poetry and grace he invests in the slow movements ... The result is compelling, and gets my warmest recommendation".


Kristeligt dagblad

d. 28. nov. 2012

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Peter Dürrfeld

d. 28. nov. 2012

"Det bedste af det bedste, hans indspilninger af de fem klaverkoncerter ... Der er tale om fortolkninger, der allerede har fået kultstatus, og et genhør med dem ... bekræfter til fulde hvorfor ... Det slående ved disse indspilninger er primært deres naturlighed og deres flow, og selvom Barenboim egentlig har rigeligt at se til ved tangenterne, udnytter han på forbilledlig vis sit intime kendskab til sit husorkester, Staatskapelle Berlin ... Man kan trygt kan tale om den ultimative udgave af de fem værker".


Jyllands-posten

d. 26. okt. 2006

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John Christiansen

d. 26. okt. 2006


Jyllands-posten

d. 11. apr. 2007

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John Christiansen

d. 11. apr. 2007


Berlingske tidende

d. 23. sep. 2008

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Søren Schauser

d. 23. sep. 2008

"Hans skiver savner spræl. Tag bare hans første indspilning af alle Beethovens klaverkoncerter: Den revolutionære glød må man finde andre steder ... Vi vil have flere forskelle, flere budskaber, større historier. Orkestret under Sir Colin Davis roder faktisk også indimellem. Udgivelsen er ligesom ikke skarp nok, prøvet nok, nødvendig nok".


Politiken

d. 11. nov. 2008

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Henrik Friis (f. 1978)

d. 11. nov. 2008

"Hvor er det befriende, at Kissin så sandelig også har åbnet en poetisk åre til lejligheden. I de fem langsomme satser får han tiden til at stå stille med sart og indadvendt meditation. Alle vidste vist, at den tidligere barnestjerne kunne - der har bare været for meget krudtrøg. Samarbejdet med Colin Davis og det fantastiske orkester er tæt på perfekt".


Kristeligt dagblad

d. 3. nov. 2010

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Jakob Holm

d. 3. nov. 2010

"I centrum for herlighederne finder man den 38-årige engelske pianist Paul Lewis ... Han er i stand til at levere et helt nyt blik på koncerterne: Han har både fornemmelse for musikkens intellektuelle kompleksitet og de forførende sangbare melodier, samtidig med at han former de musikalske forløb lysende og frit strømmede ... Musik, der holder en generation eller to".


Jyllands-posten

d. 15. okt. 2008

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John Christiansen

d. 15. okt. 2008


Politiken

d. 3. juni 2020

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Thomas Michelsen

d. 3. juni 2020

"Den britisk-australske pianist Stephen Hough og den finske dirigent Hannu Lintu har indspillet fem flotte Beethoven-koncerter ... Nu har den 58-årige britisk-australske musiker [Pianisten Stephen Hough] udgivet sit modne bud på Beethovens fem koncerter for klaver og orkester, og de er suverænt overbliksprægede og gennemførte. Det er indspilninger, der tydeligvis er kælet for, når man sammenligner med, hvor den klassiske pladeindustri ellers står i dag ... målt mod andre nyere samlede indspilninger af de fem koncerter er dette et meget solidt bud".


Jyllands-posten

d. 16. juli 2008

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John Christiansen

d. 16. juli 2008

"Abbados og Maurizio Pollinis berømmede indspilninger fra 1994 af Beethovens fem klaverkoncerter - Pollinis anden samlede - vil være en lise for mange ... Fornem klassisk musikerkunst".


Kristeligt dagblad

d. 3. dec. 2014

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Peter Dürrfeld

d. 3. dec. 2014

"Den norske pianist Leif Ove Andsnes har færdiggjort sit projekt med Beethovens fem klaverkoncerter: The Beethoven Journey. De har hidtil kun kunnet fås separat, på tre enkeltskiver, men er nu samlet i en boks - til en billig penge. Andsnes dirigerer selv Mahler Chamber Orchestra fra flygelet, og han gør det med overblik og engagement. Der er tale om prægnante fortolkninger".


BBC music magazine

2013 February

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Michael Tanner (musikanmelder)

2013 February

"Daniel Barenboim has recorded the Beethoven Piano Concertos as soloist three times ... They are the works of someone who knows these pieces inside out and is still searching for new things in them ... All told, I felt that this was more a guided tour of the Concertos, with an over-enthusiastic guide in charge, than a performance of them. As so often, Barenboim remains a puzzling, fascinating, frustrating musician".


Fono Forum

2019 November

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Martin Demmler

2019 November

"Der junge Kanadier Jan Lisiecki ist ohne Zweifel eine Ausnahmeerscheinung im Kreis der Pianisten. Seine Lesart der Klavierkonzerte Beethovens ist überzeugend, sein Spiel geprägt von Leichtigkeit, grosser technischer Meisterschaft und klanglicher Finesse ... Doch vielleicht wäre Lisiecki gut beraten gewesen, sich einen Dirigenten von Rang für seine Aufnahmen zu suchen. Denn der Orchesterpart gelingt nicht in allen Passagen überzeugend".


BBC music magazine

2019 December

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Michael Church

2019 December

"The Second is illuminated by the bright freshness of his playing, and the orchestral playing in the Third is nicely sculpted, with the Largo an oasis of serenity, thanks to his fastidiously clean keyboard style. Bringing a white-hot intensity to the Allegro of the 'Emperor' ... Lisiecki wins well-earned applause as he brings his ship into harbour. But he does need a more sensitive sound engineer".


Fono Forum

2019 März

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Martin Demmler

2019 März

"Mitsuko Uchida zeigt in diesen Aufnahmen eine bemerkenswerte Wandlungsfähigkeit. Ihr Ton klingt einmal schnörkellos-mozartisch wie etwa zu Beginn der Klavierexposition des frühen C-Dur-Konzerts und wenig später geradezu ruppig-beethovensch im Finalsatz. Ähnlich scharf die Kontraste in den anderen Konzerten: Da singt das Klavier geradezu im zweiten Satz des B-Dur- oder des c-Moll-Konzerts, und in dem Finalsätzen zeigt Uchida dann eine ausgelassene, mitunter sogar unbändige Spielfreude ... Die Berliner Philharmoniker unter Rattle präsentieren sich in Best-form".


Diapason

2019 été

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Bertrand Boissard

2019 été


Fono Forum

2008 November

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Christoph Vratz

2008 November

"Ein Geben und Nehmen zwischen Orchester und Solist, wie es einst Brendel und Rattle zelebrierten, findet hier nicht statt. Davis gibt am Pult den gutmütigen Onkel, der seinem Pianisten wohlwollend zuhört und seine Londoner dazu artig begleiten lässt".


BBC music magazine

2020 January

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Michael Tanner (musikanmelder)

2020 January

"These are highly individual performances of extremely familiar works, and even if the actual sounds made by these copies of instruments contemporaneous with their composition don't always sound agreeable, they are fresh and life-giving ... The overall impression is of energy and sometimes fun ... All told, the early concertos sound best, as if for once Haydn had written a decent keyboard concerto".


Fono Forum

2020 Februar

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Martin Demmler

2020 Februar

"Der holzschnittartiger Sound des Orchesters und der schlanke, oft harfenartige Klang der Fortepiano ... bekommen diesen Werke sehr gut. ûberraschende Klangperspektiven tun sich auf im Sammenspiel von Solist und Orchester ... Diese Aufnahmen atmen eine Frischer und Leichtigkeit, wie sie viele Interpretationen auf herkömmlichen Instrumenten nicht erreichen. Ronald Brautigam ... erweist sich auch im Falle Beethovens als leidenschaftlicher Botschafter dieser Musik".


Diapason

2020 février

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Clotilde Verwaerde

2020 février


BBC music magazine

2010 September

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Michael Tanner (musikanmelder)

2010 September

"This is not as fully rounded an account of these inexhaustible works as several others, but it is full of life and energy".


BBC music magazine

2014 May

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Michael Church

2014 May

"Buchbinder's touch alters as the music's mode alters, and he maintains an impressive balance between his roles as soloist and director ... And if the Emperor's final flourish misfits, that's a small price to pay for three hours of superb communal music-making, in which emotional restraint serves to enhance the drama".


Diapason

2020 juillet-août

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Bertrand Boissard

2020 juillet-août


Fono Forum

2020 November

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Matthias Kornemann

2020 November

"Das Finnische Radio-Sinfonieorchester artikuliert mit erstaunlicher Kernigkeit und kammerorchestraler Gespanntheit ... [Für] dem demütigen Übervirtuosen Stephen Hough ist es wichtiger im äussersten Pianissimo hörbar zu machen ... Hannu Lintu gibt ihm Raum, sich in diese Detail-Sanktuarien zu versenken".


BBC music magazine

2020 July

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Bayan Northcott

2020 July

"Hough's individualities of phrasing and subtleties of pedalling are all contained within a relatively Classical sense of order. He brings splendour to the greater grandiosity of the Emperor concerto, but never seems tempted to inflate it into a prototypical Rachmaninov as some of his eminent predecessors have. Lintu steers a judicious course between Romantic indulgence and 'authentic' briskness in his choice of tempos and draws crisp, bright textures from what sounds like relatively modest orchestral forces".


Fono Forum

2021 September

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Ingo Harden

2021 September

"Rund 30 Jahre nach seiner ersten Aufnahme aller Beethoven-Klavierkonzerte bot das Jubiläumsjahr 2020 Krystian Zimerman die Gelegenheit, sich ... erneut mit diesem klassischen Werkkomplex auseinanderzusetzen ... Die Ergebnisse klingen erwartungsgemäß hochrangig, sind von beinahe demonstrativer Professionalität geprägt ... Und Zimerman, mittlerweile 63 Jahre alt, führt Klavierspiel vom artifiziell Feinsten vor ... mit präziser, aber unaufdringlich abrollender Präsentation ... Eine 'Die oder keine"-Produktion ist die Neuaufnahme für mich daher nicht".


BBC music magazine

2021 September

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Michael Church

2021 September

"Recording of the month: It is appropriate that the peak of Beethoven's orchestral artistry should be scaled by two musicians also at the height of their powers: these performances are as near-definitive as I ever expect to hear ... [Zimerman's] interpretations here have a fleet grace which takes the breath away. Simon Rattle, meanwhile, makes the perfect foil ... In each work the London Symphony Orchestra rises splendidly to the occasion".


Diapason

2012 octobre

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Etienne Moreau

2012 octobre

"Vurdering: /5".


The gramophone

2019 November

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Patrick Rucker

2019 November

"Given that these performances were captured, according to the publicity, during rehearsals and performances, their presentation on discs is remarkably sleek and finished ... Overall, it is the rondos which are most appealing in their infectiously playful abandon ... There remains a great deal to enjoy in these performances, their freshness certainly, but perhaps, most of all, their promise of greater things to come".


The gramophone

2019 March

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Andrew Farach-Colton

2019 March

"Editor's choice: Uchida takes enormous care over articulation, clarity, voicing and dynamics. And this is true in the simplest passages as well as the most virtuoso ... What's most valuable about these performances, I think, is their [Uchida and Rattle] exploration of the music's dramatic potential ... Uchida's fastidious articulateness makes every stitch count, yet her phrasing is generous, so the detail always remains in its rightful place as part of a larger unfolding".


International record review

2008 October

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Robert Matthew-Walker

2008 October

"Out-and-out admirer of Evgeny Kissin will be more than satisfied by his playing, and for those who do not care too deeply about the inherent nature of Beethoven's work these records will give lasting pleasure; but for me, much as I would wish, I cannot wholeheartedly recommend this set".


The gramophone

2020 February

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Patrick Rucker

2020 February

"Textures are bracingly lean, with a lightness and transparency that seems airborne ... There's nothing pompous or heavyhanded in these readings. Both Brautigam and Willens are alive to Beethoven's every indication on the page, and that most precious of all commodities in music, the life of the phrase, is sacrosanct. Original, stylish and authoritative, this concerto set is a worthy and thought-provoking contribution to the recordings marking the Beethoven year".


Kristeligt dagblad

d. 30. aug. 1999

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d. 30. aug. 1999


Kristeligt dagblad

d. 25. sep. 2000

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d. 25. sep. 2000


The gramophone

2010 September

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Bryce Morrison

2010 September

"Vurdering: Editor's choice" - "May I say at once that Harmonia Mundi's eagerly awaited set is a superlative achievement and that Lewis's partnership with Jiri Behlolavek is an ideal match of musical feeling, vigour and refinement".


International record review

2010 September

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Nigel Simeone

2010 September

"Lewis's handling of the solo parts is refreshing, imaginative and responsive to the shifting moods of the music in these concertos, as well as technically impeccable".


International record review

2011 October

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Richard Whitehouse

2011 October

"With its spacious and atmospheric sound, along with detailed notes by Adrian Thomas, newcomers can scarcely go wrong with the present disc".


The gramophone

2020 December

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Jed Distler

2020 December

"Gramophone collector: Collectors familiar with Martin Haselböck's Beethoven symphony cycle with the Wiener Akademie will find the same intelligent pacing and insightful details throughout their concerto survey. The conductor consistently elicits pungent, brash, colourful and texturally diverse sonorities from his musicians ... Gottlieb Wallisch's fortright and meticulous fortepiano mastery fits perfectly into the picture, so to speak".


Kristeligt dagblad

d. 21. feb. 2000

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d. 21. feb. 2000


Jyllands-posten

d. 22. feb. 2000

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d. 22. feb. 2000


Politiken

d. 20. aug. 2000

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d. 20. aug. 2000


High fidelity (Kbh.)

Årg. 41, nr. 8 (2008)

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Mogens Wenzel Andreasen

Årg. 41, nr. 8 (2008)

"Claudio Abbado er fyldt 75, og det bliver fejret med maner ... Så er der Beethoven, og her får vi de fem klaverkoncerter med Maurizio Pollini, og så er den hjemme! Her er tale om ældre optagelser fra 1992-93, men der er også en ny indspilning af Tripelkoncerten".


High fidelity (Kbh.)

Årg. 41, nr. 8 (2008)

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Mogens Wenzel Andreasen

Årg. 41, nr. 8 (2008)

"Claudio Abbado er fyldt 75, og det bliver fejret med maner. Her er Mozart-symfonier ... og det er bare sådan, dét skal gøres. Det er ikke fortænkte forsøg på at være historisk korrekt, men inspireret musiceren i Mozarts ånd med moderne virkemidler ... Abbado har selv dannet sit Mozart-orkester, der følger ham som loyale skygger".


International record review

2014 May

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Michael Jameson

2014 May

"Buchbinder is heard at the peak of his powers here, though, and his sterling account brings his thoughtful and personable survey of Beethoven's piano concertos to its resplendent conclusion ... Highly recommended".


Jyllands-posten

d. 15. juni 1999

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d. 15. juni 1999


Kristeligt dagblad

d. 13. sep. 1999

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d. 13. sep. 1999


The gramophone

2020 June

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Richard Osborne (f. 1943)

2020 June

"It is a tribute to the quality of Stephen Hough's musicianship that the new cycle's most memorable performance should be that of Beethoven's Janus-like Third Piano Concerto, the one - on record at least - that has often proved the most elusive ... Stephen Hough's conductor ... Hannu Lintu strikes me as being an odd choice ... Mind you, it's the very refinement of Hough's playing that makes for such close listening".


The gramophone

2021 August

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Patrick Rucker

2021 August

"To begin with, happy the soloists who has Rattle and the LSO as collaborators in this repertory ... Zimerman and Rattle convey the sense that, though Beethoven was entering territory essentially charted by Mozart, he consciously did so as his own man ... The pandemic has robbed us of all that a genuine celebration of Beethoven's 250th anniversary might have been. But the release ... of the piano concertos to mark the occasion, of which this Zimerman/Rattle/LSO collaboration is a proud representative, provides something like compensation".


Politiken

d. 20. aug. 2000

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d. 20. aug. 2000



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