Another Excellent Recording of the Mendelssohn Piano Concertos by Ronald Brautigam

Mendelssohn again

Pretty much simultaneously two recordings of the Mendelssohn piano concertos were released, by Jan Lisiecki and the Orpheus Chamber Orchestra, as reviewed by me recently, and another one by Ronald Brautigam with the Kölner Akademie under Michael Alexander Willens.

So, which one should you get?

Mendelssohn Piano Concertos – Ronald Brautigam – Michael Alexander Willens – Die Kölner Akademie (BIS 2018)

Mendelssohn Piano Concertos - Ronald Brautigam Die Kölner Akademie - Michael Alexander Willens BIS 2019 24/96

Well, it’s not an easy choice.

I won’t do a full review here, as fellow music blogger Konsgaard has already done an excellent job here.

Let me focus more on the differences to Jan Lisiecki. The obvious one is the choice of instruments, Brautigam plays on his typical reconstructed Fortepiano, a Pleyel this time, and the Kölner Akademie clearly plays on historical instruments.

Overall, this gives a rougher, more unpolished, wilder sound than the more polished sound of Lisiecki’s modern Steinway.

Honestly, it’s very hard to choose. Both in their own way are excellent. I probably have a slight preference for Lisiecki and the Orpheus, the sound is just SOOO beautiful.

But then again, Brautigam clearly knows a thing or two about Mendelssohn. Furthermore, the two recordings differ by the choice of the “fillers” that you get on top of the piano concertos.

For Lisiecki, he intersperses some of the beautiful solo piano pieces. Brautigam and Willens instead go for some other lesser know pieces of the piano and concerto repertoire, the Rondo brilliant, the Capriccio brilliant, and the Serenade and Allegro giojoso. None of these works are particularly memorable individually, but taken together they really complement the piano concertos well, and are nice discoveries.

So back to the question, which one to choose? Well, while
my slight preference goes to Lisiecki, in the days of streaming, just check out both and make up your own mind. You won’t regret either of the two.

My rating: 4 stars

You can find it here (eclassical).

UPDATE March 30, 2019: Classica likes this a lot as well giving it 5 stars.

Sophie Pacini – In Between – Truly Passionate Romantic Piano

Schumann and Mendelssohn

I must admit, the core of my listening when I was younger was the Romantic period.

Brahms really was my first love, but also Bruckner, Schumann, and later increasingly Mendelssohn.

I have written previously about Mendelssohn’s solo piano works, e.g. the beautiful recordings of the Lieder ohne Worte (Song without Words) by Ronald Brautigam here and Xavier Perianes here.

But I’ve been a bit too silent about Schumann’s beautiful piano works. I was just recently reminded of Schumann’s tragic life when I saw a re-run of the 2008 German TV production Beloved Clara (Geliebte Clara) that is set in the last years of Schumann’s life when Brahms suddenly shows up, and witnesses Schumann’s increasing mental degradation. The movie isn’t the best ever, but the true story is really fascinating. And actress Martina Gedeck as Clara is good as ever.

So when I quite recently discovered a new release of a young Italian pianist, that of all possible mentors was endorsed and encouraged by none other than the magnificent Martha Argerich, I was curious.

Sophie Pacini – In Between (Warner Classics 2018)

Sophie Pacini is 26 years old, but has already had a quite impressive career, and winning several prices. Somehow she wasn’t yet on my radar screen yet. What a miss. She’s a truly passionate pianist.

Sophie Pacini In Between Schumann & Mendelssohn Warner Classics 2018 24/96 review

This entire album is split between Schumann and Mendelssohn. We really get the full level of energy throughout, I’m really not suprised that Matha endorses her, in many way she reminds me of her.

My favorite piece is already the starting piece. Here we’re getting the Liszt translation of the beautiful love song Widmung. 

This piece really is already fully putting you into the mood, virtuosity, energy, but also a lot of nuance.

When in the second half we get to Mendelssohn, we see that Pacini also is very powerful in the less virtuoso passages, she plays e.g. the beautiful Lieder ohne Worte with a lot of intimacy.

The only thing you could criticize on this album, if you really wanted to, is the occasional moment of “power over precision”, and a lot of use of rubato. But this really is nitpicking.

 

Sophie Pacini is a promising artist to watch (well, don’t believe me, but Martha apparently after initially hearing her play called her Veramente Bravisssima), and I can recommend this album very highly.

My rating: 4 stars

You can find it here (Qobuz) or here (HDtracks)

 

Recommended: The 2nd volume of Mendelssohn’s Songs Without Words by Ronald Brautigam

Yes, I really like Mendelssohn (this is already my 5th blog entry on him). His works are unfortunately still underrated by many.

And his Lieder ohne Worte (Songs without Words) are truly among my favorite works, quite simple if you listen superficially, but so much beauty and detail can be found in there.

I’ve spoken very highly of the first volume of the Lieder ohne Worte by Ronald Brautigam.

Recently, he has released the second volume, the books 5-8 of these now complete recordings of these beautiful musical poems.

Mendelssohn: Lieder Ohne Worte books 5-8 – Ronald Brautigam (BIS 2016)

Felix Mendelssohn Lieder Ohne Worte Books 5-8 Ronald Brautigam 24 96 BIS 2016

If, like me, you liked the first edition of the books 1-4, this is a clear must have.

It is again played on a contemporary copy by Paul McNulty of a Pleyel piano from the 1830s, with a beautiful mellow sound, which I’ve already praised in my previous review.

The booklet is also very much worth checking out, not only for getting a picture of the instrument being used on p. 30. Horst A. Scholz really does an excellent job in describing the individual pieces. Given that eclassical offers the booklets for free, I highly suggest you have a look.

In short: if you like Chopin or Schumann, and are curious about the sound of a piano the way Mendelssohn may have  heard and played it, go for it!

My rating: 4 stars (although the more I listen to it, the closer this fortepiano recording  gets to the 5 stars I gave to Perianes modern piano version).

You can find it here (eclassical) and here (Prestoclassical)

Update December 28,2016: In their December issue, Classica agrees and gives this album a 4 star rating.