Ludwig van BEETHOVEN (1770-1827)
Piano Concerto No. 3 in C minor, Op. 37 [36:50]
Piano Concerto No. 4 in G major, Op. 58* [34:13]
András Schiff (piano)
Staatskapelle Dresden/Bernard Haitink
rec. *March 1996 and November 1996, Lukaskirche, Dresden
WARNER CLASSICS MAESTRO 2564 69173-5 [71:17]
In the 1980s Bernard Haitink conducted a very fine cycle of the Beethoven
piano concertos, working with Murray Perahia. On that occasion the orchestra
was the Royal Concertgebouw. These later recordings found Haitink working
with another elegant pianist in the shape of András Schiff and with another
of the great European orchestras with which he’s formed a close association.
You may wonder why, in my opening comments, I’ve focused on the conductor
rather than on the soloist. This is not to denigrate Schiff’s contribution
in any way, for I enjoyed his playing very much. However, these performances
demonstrate how important is the function of a conductor who is a really
good accompanist. From the very first bar of the Third concerto to the end
of the Fourth Haitink doesn’t put a foot wrong. He shapes the orchestral part
beautifully with a real feeling for the music and he sets tempi that are sensible,
that give life to the music and which always allow Beethoven’s arguments to
make their proper impact. Some may feel that the speed for the first movement
of the Fourth concerto is on the spacious side but I found it persuasive.
Throughout both works the playing of the Staatskapelle Dresden is top class.
Schiff is a tasteful and elegant soloist. His passagework is always clean
and crisp and I like in particular his reflective shaping of the slow movement
of the Third concerto. I referred previously to the spacious conception of
the first movement of the Fourth. I’d categorise Schiff’s approach to this
movement – indeed, to the whole concerto – as thoughtful. Some listeners may
find it too self-effacing and yearn for greater muscularity – and on another
day, in a different mood, I might agree. But overall I enjoyed Schiff’s performances
and I had the impression that he and Haitink were collaborating cohesively
in the shaping of the readings.
At this point I think it’s fair to direct readers to a review
of these performances, in a previous incarnation, by Christopher Howell. I
only came across this review after I’d drafted my own comments. Christopher
shared my enthusiasm for Haitink’s conducting – though less so in the Fourth
concerto – but was less taken by Schiff’s playing than was I. Intending purchasers
ought to be aware of this divergence of view but whilst I don’t think I’d
categorise either performance as a Desert Island choice they gave me pleasure.
The recorded sound is good; the notes no better than serviceable.
John Quinn