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Piano Concertos 1 / 3 / 4
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Editorial Reviews
One of the most admired pianists of his generation, Inon Barnatan kicks off his complete Beethoven piano concertos cycle with this double album, together with the Academy of St. Martin in the Fields and maestro Alan Gilbert. Ranging from the classical First and Third to the experimental Fourth Piano Concerto, and closing with the festive Triple Concerto, Barnatan and his colleagues display the exceptional expressive range and stylistic diversity of Beethoven's musical language. For the Triple Concerto, Barnatan joins forces with violinist Stefan Jackiw and cellist Alisa Weilerstein. This recording project bears the fruit of longstanding and profound musical friendships, and - surprisingly - offers the first integral recording of Beethoven piano concertos by the Academy of St. Martin in the Fields, one of the most-recorded ensembles in the world of classical music. Inon Barnatan is one of the most admired pianists of his generation (New York Times), now making his PENTATONE debut, to be followed by another Beethoven piano concertos album in 2020. The Academy of St. Martin in the Fields has built a consistent repertoire with the label throughout the years, whereas Alisa Weilerstein presented the first result of her exclusive collaboration with PENTATONE in 2018 with Transfigured Night.
Product details
- Language : English
- Product Dimensions : 5.51 x 0.43 x 4.92 inches; 3.88 ounces
- Manufacturer : Pentatone
- Original Release Date : 2019
- Date First Available : August 30, 2019
- Label : Pentatone
- ASIN : B07VGTYZML
- Country of Origin : USA
- Number of discs : 2
- Best Sellers Rank: #274,298 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #4,834 in Classical Concertos
- Customer Reviews:
Customer reviews
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Learn more how customers reviews work on AmazonTop reviews from the United States
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- Reviewed in the United States on October 18, 2019I recently had the pleasure of hearing Inon Barnatan live in concert performing the wonderful Brahms 1st Piano Concerto with the Minnesota Orchestra. It was a thrilling performance and led me to purchase his new Beethoven recording, which he was kind enough to autograph.
The 2CD Beethoven recording features Piano Concertos 1, 3 & 4, along with the Triple Concerto. Jackiw and Weilerstein are the other soloists on the Triple Concerto. Alan Gilbert is the conductor.
The piano playing by Inon Barnatan is excellent, but I must confess I am not necessarily a fan of Alan Gilbert as the conductor. Gilbert is known more for conducting modern music, but he is average in Beethoven. I say average, because there are other conductors out there like Roberto Abbado, Edo de Waart or Paul McCreesh who could do a better job with Beethoven.
The Academy of St. Martin's In the Fields recently released a set of concerto recordings with Jan Lisiecki's, so it may be worthwhile to compare the two sets, as the Jan Lisiecki's set of recordings does not feature a conductor, while the Inon Barnatan set does feature a conductor. I believe the orchestra sounds better on the Barnatan recording, since Beethoven's music really benefits from having a conductor to keep the orchestra together.
I purchased this 2CD set solely for the piano playing of Inon Barnatan and was not disappointed, which is why I am giving this set a 5 star review, even if I would have preferred a different conductor.
- Reviewed in the United States on February 21, 2020Huntley Dent, Fanfare magazine
Arguably everything that can be said in Beethoven’s piano concertos has already been said, but this won’t put a damper on record labels issuing new products in his 250th anniversary year. In Pentatone’s case, recording a piano concerto cycle fills a gap in its catalog, and the works serve as a showcase for the admired Israeli pianist Inon Barnatan, who is newly signed to the label. Any performer who joins Pentatone is practically assured of a long-term commitment, which has consistently been its policy.
None of these considerations helps a reviewer find a fair basis for judging this new two-CD release of Concertos Nos. 1, 3, and 4 coupled with the Triple Concerto. It is immediately evident, if it wasn’t in advance, that Barnatan and conductor Alan Gilbert aren’t about to displace the great recordings in this repertoire, so it seems only fair to judge them by a different standard. But that is somewhat stymied, because these performances do not set out to say anything new, personal, original, or daring. They are good subscription-concert versions that err on the side of caution, often speaking in a modest voice.
Concerto No. 1 starts out in a rougher vein, with Gilbert exaggerating the dynamic contrast in the opening statement, presumably to spark a bit of excitement. As soon as Barnatan enters, however, there is a lull that remains permanent. He has a subdued image of the music, which he carries out scrupulously. Why the pianist hesitates to make a stronger impression is baffling. Choosing the long bravura cadenza gives the soloist ample opportunities to be thrilling, but Barnatan moderates these opportunities considerably. He’s never less than musical, but there’s something ineffectual in a great deal of his playing. The slow movement is delicate to a fault. The finale is brisk and precise, if small-scaled. I think that’s the guiding principle here: to offer modesty and reduced expectations as Classical virtues. Even at that, does everything have to sound so moderated that it’s dull? Wherever he can Gilbert bangs away at the orchestral part, but these efforts count for very little.
This isn’t an exciting conductor, and the long orchestral exposition in Concerto No. 3 is typical of Gilbert, doing everything right but without flair. He and Barnatan understand that this concerto should sound larger and more ambitious than what came before. But they lapse into the same modest restraint that made the First Piano Concerto unengaging. As a default mode in Beethoven, primness isn’t recommended. The slow movement is fussed over; the finale lacks any sense of drama or excitement. These drawbacks negate Barnatan’s virtues of clean technique, musical phrasing, polished execution, and lovely tone.
He opens Concerto No. 4 almost apologetically, which comes as no surprise at this point. If your conception of the score emphasizes gracefulness as its principal quality, the present reading fits the bill. The long orchestral exposition gives Gilbert a chance, as before, to set the stage for a little excitement, and yet his soloist refuses to take the bait. There is no feeling of consistent momentum. The music gets segmented into episodes, some moving forward while others pause and linger. In all three concertos I would like a wider dynamic range, too, but here Barnatan might be heeding the printed score by sticking so much to mezzo-forte.
The contest between the orchestra and the piano in the Andante con moto is faithfully represented. Gilbert isn’t too aggressive, while Barnatan exemplifies quiet inwardness. I didn’t find that either cast a spell; however, the element of fussiness again creeping into Barnatan’s phrasing. The transition to the finale is efficiently done, and then we get the same frustrating schism where Gilbert hammers on the orchestral part while Barnatan practices impeccable Classicism, if that’s what the style is meant to be.
In the Triple Concerto I was happy to see that violinist Stefan Jackiw is gaining wider exposure. Born in Boston in 1985 to Korean and German parents, both physicists, Jackiw has lingered around the periphery for quite a while, too long considering his abilities. In concert the Triple Concerto tends to be an unequal match between the recessive cello and two instruments that are much more prominent, but microphones solve this mismatch handily. Gilbert has no real feeling for the opening orchestral tutti, but at least he lends it rackety forcefulness. Alisa Weilerstein enters with lyrical restraint, not attempting to make her tone other than what it is.
The three soloists turn out to be beautifully coordinated, and there is a sense of unanimity in their ensemble rather than competition (which would have made for a more exciting reading nonetheless). The risk is that if everyone is so well behaved, no one is a star. But it would be unfair to take a swipe at this performance, in which there is the eager involvement lacking in the piano concertos. Barnatan has been Weilerstein’s regular duo partner, and with Jackiw in total sympathy, they deliver a beautiful piano trio kind of reading, if I can put it that way. Gilbert is fairly neutral; this performance is driven by the trio partners. They are quite inspired together in the Largo, as well as unusually moving. Weilerstein starts the finale on a muted note, guiding the music into a reflective mood. Soon the soloists give in to Beethoven’s demand for momentum, though, and the whole movement comes off very well, the excitement coming principally from brilliant passagework executed with amazing precision.
In an era of downloads and streams, it’s possible to get the Triple Concerto on its own, which is what I’d recommend. I’ve loved Barnatan in chamber music for years, but here he falls short as a soloist, at least in my conception of how these three Beethoven piano concertos should go. It may or may not be significant that the solo concertos were recorded as far back as 2015, while the Triple Concerto dates from 2017.
Top reviews from other countries
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Stefan GümbelReviewed in Germany on September 1, 2020
5.0 out of 5 stars Nachwuchs im Beethoven-Klavierolymp
Pünktlich zum 250.Geburtstag des Komponisten machen uns der amerikan./israel. Pianist Inon Barnatan ( geb. 1979 in Tel Aviv ) und die Academy of St.Martin-in-the-Fields ( gegründet 1959 ), geleitet vom derzeitigen Dirigenten des NDR-Elbphilharmonieorchesters Alan Gilbert, dieses musikalische Geschenk in 2 Teilen. Ab jetzt sind Wilhelm Kempff und Sir Alfred Brendel im Olymp der Beethoven Interpreten nicht mehr alleine ! Inon Barnatan schickt sich an den beiden Beethoven Giganten würdig Gesellschaft zu leisten. Bei ihm stimmt nicht nur das spielerisch-technische Know how, er dringt auch interpretatorisch auf hohem Niveau in die Tiefen der Partitur vor. Alan Gilbert und die ASMF begleiten ihn dabei klangschön und behutsam folgend. Man höre sich zum Unterschied dazu die ebenfalls zum Beethovenjahr erschienenen Live- Mitschnitte von Jan Lisiecki - ebenfalls mit der ASMF- aus dem Berliner Konzerthaus an. Der junge Kanadier mit polnischen Wurzeln meistert die technischen Anforderungen der Partitur ebenfalls bewundernswert, muss sich jedoch auf dem Weg zum Olymp noch ein paar Lenze mit der Tiefe der beethovenschen Partituren befassen. Barnatan ist auf diesem Weg den beiden Giganten schon sehr viel näher gekommen.
Sehr lobenswert ist auch die Zusammenstellung der beiden CDs. Auf Teil 1 folgt den Konzerten 1,3 und 4 noch das seltener zu hörende Tripelkonzert von Beethoven, Teil 2 liefert dann neben den Konzerten 2 und 5 noch die sehr selten eingespielte , von Beethoven selbst auf Drängen von Muzio Clementi angefertigte Klavierfassung seines Violinkonzerts. Technisch sind die Aufnahmen des Labels PENTATONE ( Baarn,NL ) Spezialist für SACDs- in Deutschland durch NAXOS vertrieben- den selbst gesetzten Ansprüchen genügend auf höchstem Niveau. Man erfährt selbst wer sich um die Einrichtung des Konzertflügels gekümmert hat.
Wer sich zum Beethovenjahr etwas Sinnvolles leisten will, sollte die beiden CDs unbedingt erwerben ! Musikalische Sternstunden sind ihm garantiert.
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AnonymReviewed in Germany on January 30, 2020
5.0 out of 5 stars Inon Barnatan Klavierkonzerte Teil 1
War sofort da. Alles wunderbar. Gerne wieder.