After my comments on the “Instrumental” category of the Gramophone Awards last Saturday here, let me highlight some more gems in the Concerto category.
The Beethoven Journey – Leif Ove Andsnes with the Mahler Chamber Orchestra playing Beethoven’s piano concertos 2 & 4
Beethoven again, piano concertos 3 & 4 by Maria Joao Pires with Daniel Harding and the Swedish Radio Symphony Orchestra
Britten / MacMIllan / Vaughan Williams played by the Britten Sinfonia (not heard)
Bruch & Prokofiev’s Violin Concertos by Guro Kleven Hagen with the Oslo Phlharmonic and Bjarte Engeset
Dvorak’s Cello Concerto by Alisa Weilerstein with Jiri Belohlavek and the Czech Philharmonic Orchestra
Mozarts Violin Concertos 3 – 5, Arabella Steinbacher, Daniel Dodds, Festival Strings Lucerne
As said above, I haven’t heard the Britten album (and actually don’t care much about Britten in the first place, so wouldn’t be in a good place to talk about the album.
Two other albums I only gave a quick spin, so I’m not going to rate them, which are the Mozart concertos by Arabella Steinbacher, and the Prokofiev/Bruch combo by the young Norvegian violin player Guro Kleven Hagen, that I hadn’t heard of before. My admittedly superficial impression on both were solid performances, nothing wrong with them, but also nothing that would motivate me to go back. One argument in favor of the Arabella Steinbacher is that it is recorded on Pentatone, that usually has an outstanding recording quality, so if you have a good Hifi, you may want to check it out.
The three albums I have heard in more detail are the two Beethovens and the Dvorak.
Let me start with Maria Joao Pires first. I’m very happy to report that after my rather lukewarm review of her Schumann concerto with Gardiner, in this recording I can reconfirm that I’m a fan. Very delicate, nuanced playing. I’ve already praised Daniel Harding in his recording of the Brahms Violin Concerto, and also the Orchestral part is doing a fine job here.
My rating: 4 stars
However, to my ears, with Leif Ove Andsnes it gets even better. I’ve already declared how much I like his Grieg, and here on Beethoven with the excellent Mahler Chamber Orchestra which Andsnes conducts from the piano, the result is just really really nice. I’ve had the pleasure of hearing this combo play concertos 2-4 live late last year, and the recording fully captures the energy and passion by both soloist and orchestra. No. 4 is anyhow my preferred Beethoven concerto, and this is definitely one of the best versions I have. However, to my ears, they are even better on piano concerto no. 2 (side note: wrongly numbered, this should have been his no. 1 chronologically), which really benefits from the lighter sound of the Mahler Chamber.
My rating: 5 stars
But who is my predicted category winner? Well, by exclusion you could have guessed it: Alisa Weilerstein’s Dvorak. We recently already got an excellent reading of this concerto with Stephen Isserlis on Hyperion, and obviously there are a lot of outstanding historic recordings (Starker, Du Pré, etc.), this version just gets what is the essential for me in this concerto (my favorite piece by Dvorak by the way): the romantic passion. (Side note: When Brahms, who mentored Dvorak for a while, read the score, he’s quoted: “If I had known that it was possible to compose such a concerto for the cello, I would have tried it myself!” If only he had…). This recording is pure emotion. I suppose having a Czech orchestra playing music by their most famous local composer helps. There are some minor technical glitches here and there, but they don’t really matter, you don’t even notice.
My rating: 5 stars
So, what do you think? What are your predictions?
14 thoughts on “My Reflections on the 2015 Gramophone Award Nominees – Part II – Concerto”
This one’s quite interesting. I thought Weilerstein had won last year for the stunning Elgar-Carter-Bruch disc, but she wasn’t even short-listed! (It won BBC Music Magazine’s Recording of the Year.) If she *had* won last year, then I’d go for the Kleven Hagen this year, which really hit me right between the eyes – I’ve seldom heard Prokofiev sound so romantic. (Would love to find this in high res in the States, but so far no luck.) But as it is, I think Gramophone will correct last year’s oversight, so I agree with you. I also agree this disc should take it on sheer merit, though for me the Kleven Hagen is a *very* close second.
The rest: I agree about the Andsnes, but the other two are just too good. Steinbacher is also excellent, but unfortunately I have a blind spot where most of Mozart is concerned (yes, I really said that), so I just can’t give my heart to this music. Pires I’m not crazy about.
So though we have some reasonably different feelings about some of the recordings in this category, I agree with your prediction of Weilerstein.
LikeLiked by 1 person
The reason why Weilerstein wasn’t nominated last year is probably that the Gramophone awards don’t follow a yearly cycle, but somehow go mid-year to mid-year. Maybe I need to give the Kleven Haqen another spin, I haven’t fully made up my mind yet.