RECORDINGS IN REVIEW

Abstract

1 8 3 R R E C O R D I N G S I N R E V I E W J A Y N O R D L I N G E R Leif Ove Andsnes, the Norwegian pianist, is recording the Beethoven concertos. His series is called ‘‘The Beethoven Journey’’ – a slightly pretentious name, in my opinion, but a performer’s or a label’s prerogative, nonetheless. In these concertos, Andsnes is joined by the Mahler Chamber Orchestra, a group founded by the late conductor Claudio Abbado. Andsnes himself conducts the orchestra – that is, he play-conducts, serving as both soloist and conductor. I think this is a bad idea, as a rule; it may also be a conceit. Play-conducting tends to detract from both playing and conducting. In any case, Andsnes handles his responsibilities well. The disc I have before me o√ers Beethoven’s Second and Fourth Piano Concertos (Sony Classical 370548). The playing, from all concerned, is compact, crisp, and alert. Andsnes is very precise, without a hair out of place. He can be a little cool. But he is reliably musical, and he is a natural for Beethoven. He has the right combination of strength and lyricism. He sculpts a piece as the composer desires. There are many, many recordings of the Beethoven concertos on the market, but every pianist deserves to have his or her say – certainly every major pianist. As far as I’m concerned, Andsnes should proceed to the thirty-two sonatas. 1 8 4 N O R D L I N G E R Y Yundi has recorded Beethoven’s Piano Concerto no. 5, the Emperor (Deutsche Grammophon 4810710). Yundi used to be known as Yundi Li, but he dropped the ‘‘Li’’ along the way. He is making a bid to be the most prominent one-named pianist since Solomon (1902–88). But there is also a pianist on the scene who goes by ‘‘Ji.’’ He is a young Korean-born player. Yundi plays the Emperor Concerto with the Berlin Philharmonic, and he has the services of a conductor: Daniel Harding. The first movement is bold, invigorating , majestic – imperial indeed. The familiar seems fresh. A listener may fall in love with this music all over again. The second movement, I’m afraid, is a letdown: harmed by a peculiar sense of rubato, or license with time. A more straightforward approach would be beneficial. The closing movement, the Rondo, su√ers from an excess of weight. It may be the closing movement of a concerto called Emperor, but it’s still a rondo. The title of Yundi’s disc overall is Emperor/Fantasy. That may lead you to believe that the concerto will be accompanied by Beethoven’s Choral Fantasy (for piano, chorus, and orchestra). What it is accompanied by, however, is the Fantasy by Schumann, op. 17 (for solo piano). I admire this decision: the modern practice is to stick to one composer , or one form of music; in previous times, a recording could have been ‘‘filled out’’ by anything. Schumann’s Fantasy includes ethereality, dreaminess, wonder – fantasy, in short. Yundi’s playing is a little blunt, but creditable. Sean Chen uses both his names. He is a young pianist from California, and his new disc is called La Valse. It comes from the Steinway label (30029). For generations, Steinway was a piano, but in recent years it has been a recording label as well. It is one of the most interesting labels around, o√ering piano music o√ the beaten track. Often the repertoire is more important than the playing. That is, the opportunity to hear or know the repertoire can be more important than the quality of the playing. Moreover, Steinway takes care with CD covers and liner notes. These things matter. Chen’s disc brings music of Ravel and Scriabin. Because it’s called La Valse, you would expect Ravel’s piece of the same title, and you get it. You would also expect Ravel’s Valses nobles et sentimentales, and you get them. But there are rarities too, such as Scriabin’s Waltz in A flat, op. 38. There are also some rarities...