First of all, I feel a bit bad for not posting more regularly in 2020. OK, so my year transitioned very brutally from traveling like crazy to working even crazier hours from home, and obviously the situation of most parts of the world really has plenty of reasons to not have a clean head to think about other things.
But then again, isn’t music even more essential these days? It is a nearly universal source of joy, and I really hope I can share my enjoyment with you, my dear readers.
Beethoven Piano Concertos No. 1 & 4 – Martin Helmchen – Andrew Manze (Alpha 2020)
Does the world need yet another recording of Beethoven’s piano concertos? Almost certainly not.
I’ve already shared how much I like the complete cycle of Leif Ove Andnses with the Mahler Chamber Orchestra, which I also mentioned in my Top 5 Classical albums of 2015.
But that said, when I more or less randomly checked into this recent release, I was very positively surprised how much I liked it.
Both Martin Helmchen and Andrew Manze are artists that aren’t fully in the limelight. Insiders will know them, Helmchen for example for his many beautiful chamber music collaborations, Manze was until recently more known for his HIP influenced baroque performances that he lead with the English Consort. Since 2014 he is conducting the NDR Radiophilharmonie in Hanover, Germany. And obviously, the Deutsche Sinfonieorchester Berlin (DSO) is often eclipsed by the two other amazing orchestras in the same city, the BPO and the Staatskapelle.
But as I’ve written many times before, the best performances don’t necessarily come from the big names and the traditional large orchestras any more. You always need to watch seemingly lesser known ensembles, you more often than not will be positively surprised.
So, why do I like this recording? Well, it is hard to pinpoint a single feature. Probably the best description of what I like is the balance. You can clearly hear that Manze knows his historically informed practice, but at no point this performance becomes bloodless which some “HIP” recordings can clearly get to. You have a very transparent and intimate reading, but never dull.
Helmchen also is a fantastic performer here. I’m a particular fan of his performance of piano concerto no. 1. This work, which clearly sits spot on on the border between the “Wiener Klassik” of Mozart and Haydn, and the following romantic era of Schubert and Schumann, but it is so very Beethoven in so many ways. Helmchen perfectly captures the spirit of this transitional work.
Piano concerto no. 4 is probably my favorite of all 5 piano concertos. The opening, with its very simple solo piano chords, immediately answered by the orchestra, is a totally different beast to the piano concerto no. 1. This work was premiered for the first time in a massive concert that also features the 5th and 6th symphony. This is clearly a Beethoven at the height of his powers, fully emancipated from Haydn and Mozart, creating a style that is so very immediately recognisable as Beethoven, and has never been surpassed since.
Helmchen and Manze also give us a beautiful performance here, but maybe it is for this work that I’d just like to have a tiny bit more of something, what exactly I really don’t know. Maybe I’m still influenced by the very first performance I owned of this work, a recording of the legendary Rudolf Serkin with Seiji Ozawa and the Boston Symphony (a recording that build a much “bigger” Beethoven, not that that is necessarily automatically a good thing). OK, let me stop rambling here. In these situations I’m happy I don’t have to pretend I’m a professional reviewer, but just share my personal impressions.
Overall though this is a recording you really should check out, particularly for what could be close to a perfect first piano concerto.
My rating: 4 stars
You can find it here (Qobuz)