Information
Composer: Johannes Brahms
CD1:
Hélène Grimaud, piano
Bavarian Radio Symphony Orchestra (Op. 15)
Vienna Philharmonic Orchestra (Op. 83)
Andris Nelson, conductor
Date: 2013
Label: Deutsche Grammophon
http://www.deutschegrammophon.com/en/cat/4791058
CD1:
- (01-03) Piano Concerto No. 1 in D minor, Op. 15
- (01-04) Piano Concerto No. 2 in B flat major, Op. 83
- (05) Waltz in A flat major, Op. 39 No. 15
Hélène Grimaud, piano
Bavarian Radio Symphony Orchestra (Op. 15)
Vienna Philharmonic Orchestra (Op. 83)
Andris Nelson, conductor
Date: 2013
Label: Deutsche Grammophon
http://www.deutschegrammophon.com/en/cat/4791058
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Grimaud plays the concertos live with different orchestras
Composer cycles have become a dime a dozen, mostly because they often fall into the trap of focusing on the printed page to the exclusion of all else. Apart from the score, there are other less tangible elements to consider. Brahms’s two piano concertos stand as prime examples, partly because they were both premiered by Brahms himself, partly because they come from such different times in his life that, beyond their respective compositional styles, their intentions and spirit remain poles apart. That belief clearly fuels Hélène Grimaud’s new recording, with Andris Nelsons conducting two vastly contrasting orchestras. There may be better performances of these concertos out there but it would be hard to find a pairing that draws a greater distinction between the two.
Grimaud, who has lived with the early D minor Concerto for decades, has called Brahms’s Op 15 ‘a piece I need to survive’. Indeed, she recorded it with that kind of urgency for Erato back in 1997 with Kurt Sanderling and the Staatskapelle Berlin, her passion making up for the lack in sheer power you’d find in accounts by the likes of Brendel or Pollini. With Nelsons and the Bavarian Radio Symphony Orchestra, Grimaud’s second recording of the First sounds a tad less youthful, a tad more disciplined, but the balance between those two elements remains truly inspired. Nelsons and the Bavarians are on nearly every level a better match for Grimaud than Sanderling and the Staatskapelle, in this case fully encapsulating a young composer out to make the piano and orchestra equal partners.
The Vienna Philharmonic, by contrast, are a truly imposing force right from the opening. This can hardly be reduced to differences between Austrian and Germanic playing, although the older Brahms was considerably more Viennese. Rather, it reflects a two-decade advance in Brahms’s symphonic profundity. Where the Bavarians emphasise flexibility and spontaneity, the Vienna Philharmonic make the simplest musical utterances seem epic. Grimaud has clearly spent much less time with Op 83 but by again forsaking power for emotional depth – this time stressing an aura of contemplation – her results end up being no less monumental.
-- Ken Smith, Gramophone
More reviews:
MusicWeb International RECORDING OF THE MONTH
http://www.classical.net/music/recs/reviews/k/kul04891dvda.php
Composer cycles have become a dime a dozen, mostly because they often fall into the trap of focusing on the printed page to the exclusion of all else. Apart from the score, there are other less tangible elements to consider. Brahms’s two piano concertos stand as prime examples, partly because they were both premiered by Brahms himself, partly because they come from such different times in his life that, beyond their respective compositional styles, their intentions and spirit remain poles apart. That belief clearly fuels Hélène Grimaud’s new recording, with Andris Nelsons conducting two vastly contrasting orchestras. There may be better performances of these concertos out there but it would be hard to find a pairing that draws a greater distinction between the two.
Grimaud, who has lived with the early D minor Concerto for decades, has called Brahms’s Op 15 ‘a piece I need to survive’. Indeed, she recorded it with that kind of urgency for Erato back in 1997 with Kurt Sanderling and the Staatskapelle Berlin, her passion making up for the lack in sheer power you’d find in accounts by the likes of Brendel or Pollini. With Nelsons and the Bavarian Radio Symphony Orchestra, Grimaud’s second recording of the First sounds a tad less youthful, a tad more disciplined, but the balance between those two elements remains truly inspired. Nelsons and the Bavarians are on nearly every level a better match for Grimaud than Sanderling and the Staatskapelle, in this case fully encapsulating a young composer out to make the piano and orchestra equal partners.
The Vienna Philharmonic, by contrast, are a truly imposing force right from the opening. This can hardly be reduced to differences between Austrian and Germanic playing, although the older Brahms was considerably more Viennese. Rather, it reflects a two-decade advance in Brahms’s symphonic profundity. Where the Bavarians emphasise flexibility and spontaneity, the Vienna Philharmonic make the simplest musical utterances seem epic. Grimaud has clearly spent much less time with Op 83 but by again forsaking power for emotional depth – this time stressing an aura of contemplation – her results end up being no less monumental.
-- Ken Smith, Gramophone
More reviews:
MusicWeb International RECORDING OF THE MONTH
http://www.classical.net/music/recs/reviews/k/kul04891dvda.php
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Johannes Brahms (7 May 1833 – 3 April 1897) was a German composer and pianist. In his lifetime, Brahms's popularity and influence were considerable. Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. Many of his works have become staples of the modern concert repertoire. An uncompromising perfectionist, Brahms destroyed some of his works and left others unpublished. Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Classical masters, with a highly romantic nature embedded within.
https://en.wikipedia.org/wiki/Johannes_Brahms
https://en.wikipedia.org/wiki/Johannes_Brahms
***
Hélène Grimaud (born 7 November 1969 in Aix-en-Provence, France) is a French classical pianist. In 1982, she was accepted into the Paris Conservatoire and won first prize in piano performance three years later. She continued to study with György Sándor and Leon Fleisher until her debut recital in Tokyo in 1987. Since then, Grimaud has given concerts with most of the world’s major orchestras and many celebrated conductors. Her recordings have been critically acclaimed and awarded numerous accolades. She is also a wildlife conservationist, a human rights activist, and a writer with three published books.
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CD1
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CD2
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