Beethoven: Piano Concerto No. 4 / Piano Sonatas Nos. 30 & 31, Opp. 58, 109, 110

Beethoven: Piano Concerto No. 4 / Piano Sonatas Nos. 30 & 31, Opp. 58, 109, 110 Review

Beethoven: Piano Concerto No. 4 / Piano Sonatas Nos. 30 & 31, Opp. 58, 109, 110 Overview

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Beethoven: Piano Concerto No. 4 / Piano Sonatas Nos. 30 & 31, Opp. 58, 109, 110 Specifications

If Hélène Grimaud hasn't yet appeared on your radar screen of today's outstanding artists, do yourself a favor and get to know the amazing work of this young French pianist. As with her previous releases on Teldec, Grimaud hasn't set out to occupy a specialized niche of repertory. Instead, in knockout recordings of Brahms and Rachmaninoff, Grimaud's been staking out the prime territory. Any initial reservations about such works being over-recorded are quickly dispelled by the unique poetry and power her imagination brings to them, above all in this marvelous live performance of what is probably Beethoven's greatest piano concerto. Entire readings of the Fourth collapse due to misjudgment of its brief but microcosmic opening five bars of solo piano; listen to Grimaud's eloquent articulation of the all-important rhythm, given without intrusively subjective fuss. Her balance of lyricism against energetic momentum sets the stage perfectly for what is to follow. Masur--in almost telepathic sympathy with the soloist--brings a grandly expansive sensibility to the first movement that allows for deliciously precise details from the New York Philharmonic, without losing sight of the music's dramatic thrust. The disc also includes two of the late sonatas; Grimaud understands their complex emotional fabric and brings both clarity and intensity to her articulation. Especially beautiful is the variation movement of Opus 109, sensitively shaped and unencumbered with a dubious "mysticism." No matter how well you know this music, Grimaud is the kind of artist who can make you rethink and--most importantly--feel again what is taken for granted. --Thomas May

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