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Pno Cto 1/Intermezzi
 
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Pno Cto 1/Intermezzi

~ Johannes Brahms (Composer), Simon Rattle (Conductor), Birmingham Symphony Orchestra (Orchestra), Leif Ove Andsnes (Performer)
5.0 out of 5 stars  See all reviews (2 customer reviews)

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Product Details
1. I. Maestoso
2. II. Adagio
3. Rondo. Allegro Non Troppo
4. I. Andante Moderato
5. II. Andante Non Troppo E Con Molta Espressione
6. III. Andante Con Moto
On this CD:
  1. Piano Concerto No. 1 in D minor, Op. 15
    Composed by Johannes Brahms
    Performed by Birmingham Symphony Orchestra
    with Leif Ove Andsnes
    Conducted by Simon Rattle

  2. Intermezzi (3) for piano, Op. 117
    Composed by Johannes Brahms
    Performed by Birmingham Symphony Orchestra
    with Leif Ove Andsnes
    Conducted by Simon Rattle

Product Description

From Amazon.com

This performance of the Piano Concerto won't be to everyone's taste. Leif Ove Andsnes, who has a decided point of view on the music, plays with his emphasis on the lyrical aspects of the music. He could obviously play the heroic outbursts of the first movement as strongly as he wants to, but he downplays them somewhat to keep them in context. You can get more excitement in other places, but only Curzon and Moravec have made this concerto such a poetic, emotional experience. Simon Rattle and the orchestra second Andsnes's viewpoint very convincingly. The Intermezzi, already elegiac in tone, are particularly affecting as Andsnes plays them; this "bonus" could easily be worth the price of the disc. --Leslie Gerber

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Customer Reviews

2 Reviews
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Average Customer Review
5.0 out of 5 stars (2 customer reviews)
 
 
 
 
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1 of 1 people found the following review helpful:
5.0 out of 5 stars Just like Horowitz, but really estimated isc, Mar 3 2004
By Masahiko OKAZAKI (Kochi, JAPAN) - See all my reviews
The reason I bought this CD is the third movement. It sounds like Horowitzfs pianism. Actually even now, I listen to it at first to be courage. Andsnesf powerful and rapid touch isnft hidden by the orchestrafs play of the main theme. Besides, I have never listened to the clear trio that the orchestra plays at this movement. The stress of the cello and contrabass enables it.
By the way, if any CD were estimated truly, its reason would not be the wonderful play, but that it would bring people to the new interpretation or finding of this piece. From this viewpoint, the performance to be estimated should be the second motivation. In contrast to the third, it is very quiet and slow. However, from the beginning the orchestra makes explicit that it is the fugue just like Bach, while the piano shows that the beautiful melody line at the right hand is accompanied with the different tempo harmony at the left hand just as Chopin. This performance notices it to listeners clearly. I appreciates the second highly because of these reasons, even if it is harder to listen than the third.
The second isnft fit for the beginners, but the third is the fittest. I advice beginners to listen to the third at first. As the first isnft so particular, suppose it as the standard.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars A lovely interpretation, Mar 8 2002
This is a wonderful performance of Brahms Piano Concerto #1 with excellent playing by both Leif Ove Andsnes and the Birmingham Symphony conducted by Simon Rattle. The Maestoso and Rondo movements are powerfully dramatic without sounding crazed or out of control. The Adagio is serene and expressive, and absent of syrupy-ness. Andsnes gives a brilliant, very natural-sounding interpretation, and Rattle and the Birmingham Symphony do an admirable job of supporting him.

The recording quality is excellent throughout. One doesn't get the sense of the soloist being artificially amplified, as is the case with so many concerto recordings. This sounds as if you are sitting in the hall listening. It seems to truly take advantage of the Compact Disc's excellent dynamic range.

Brahms's Three Intermezzi at the end of the CD are delightful and profound. Andsnes always does a marvelous job of letting the compositions guide his performance. When listening, you get a sense of the composer's voice coming through the music.

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