Beethoven: Piano Concerto 2 & 5

 

It has been a while since I have last heard this recording, but I seemed enthusiastic at the time. Of course, we were all younger back then, and Russian pianist Evgeny Kissin was a hot commodity. Time did not work favorably for James Levine on the other hand, yet one cannot doubt his ability at the podium.

What I really need to do is revisit Kissin's recording of the Beethoven piano concertos with Sir Colin Davis, as apparently I felt free to dismiss it on my past review. I also now feel quite uncomfortable seeing Kissin with Levine on the back cover below, but maybe you can digest these sort of things better than I can.

A review from 2000

James Levine and Evgeny Kissin come together with the Philharmonia Orchestra in this 1997 recording of Beethoven’s early 2nd Piano Concerto and the famous late 5th Piano Concerto subtitled “Emperor”. The partnership here is excellent with fresh, forward-moving orchestral work from Levine, and thoughtful and vigourous pianism by Kissin. Unfortunately, Levine and Kissin never came together to complete a full Beethoven Piano Concerto cycle, Kissin instead collaborated with an octogenarian Sir Colin Davis in the late 2000’s who is sometimes let down by a staid and tentative Davis, but Kissin and Levine did meet up again Live at the Met to put down an excellent 4th Concerto by Beethoven in 2013 as well as some four-handed piano performances Live at Carnegie Hall in 2005.

The 2nd Piano Concerto is the most “Mozartean” of his piano concertos, the 1st concerto paving the way forward with countless wind solos and features, but even in the 2nd Concerto, there are still plenty of burgeoning Beethoven-isms: sudden accents, odd key relationships, protracted developments and codas, but all draped in Viennese propriety. The Philharmonia Orchestra is a full, big-band account of the concerto, warm and well-rounded in tone, nigh upon homogenous with well-balanced string to wind ratios, but here Levine giving plenty of weight to Beethoven’s sforzandos, finding adroit pacing throughout, and giving deep singing lines to the slow movement without losing momentum or character. Kissin easily rises to the top in the 2nd Concerto with powerful and vigorous technique, the virile rondo for example, yet thoughtful attention to detail throughout.

The 5th Piano Concerto is the more oft recorded and thus comes with great competition. For comparison sake, I took out my reference 1962 Serkin/Bernstein on CBS who perform similarly in style to Kissin/Levine. As with the 2nd Concerto, the Philharmonia Orchestra is full and warm, but verge on homogeneity with string to wind placement, however, the orchestra-to-piano balance is excellent. Here again, Kissin is poetically big-boned throughout supported by the luscious Philharmonic, although Beethoven’s more developed Romanticisms allow Kissin more virtuosic impetuosity and yearning compared to the 2nd. In comparison, Bernstein’s New York Philharmonic is a little more virtuously colourful due to the older sound, the brass is unleashed in the opening and the CBS sound picks up the bass strings unusually close for a rather tactile sound on the low end, and, minus the French horns, the winds are brought forward a bit more for their exposed contributions. Serkin and Bernstein are a little more impetuous in the 1st movement for a true triumphal feeling, however, I will give Kissin and Levine the nod for pacing and an excellent dancing style in the 3rd movement, with Bernstein leading NY’s orchestral portions a little stodgily in comparison. NY’s pizzicatos are larger than life in the slow movement, but both Kissin and Serkin pace well the slow movement and dazzle us with technique throughout, although Serkin is endless in his energy and Kissin has great power in his playing. In the end, both are successful traversals in similar styles, Bernstein in older, but fine, colourful sound, and Levine is given full modern sound with expert balances. Let’s call it a draw of excellences with much to appreciate from both.

There are countless sets of Beethoven Piano Concertos from today and yesteryear that offer more or less for each listener; wistful poetry, singing lyricism, virile bravado, or period practice and fortepiano, depending on which pairing of pianist and conductor you prefer. For me, Evgeny Kissin and James Levine stand toe to toe with Rudolf Serkin and Leonard Bernstein for powerfully exuberant playing, an exciting forward-moving pace, and thoughtful pianism that stands with the best, especially over Kissin’s set with Sir Colin Davis now on Warner Classics.

 

 

Works
Piano Concerto 2 in B-flat Major, op. 19 (32.44)
Piano Concerto 5 in E-flat Major 'Emperor', op. 73 (29.30)

Soloist
Evgeny Kissin, piano

Performers
Philharmonia Orchestra
James Levine, conductor

Total Timing: 68.46
Label: Sony
Year: 1997

 

I am going to temper my original review until I next have time to re-listen to this recording.

That said, with what is now known about James Levine, there are plenty of other fine Beethoven piano concerto recordings to enjoy without resurrecting his name.

 

 

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