What better way to christen a new musical working relationship than with
this wonderful disc of two Beethoven piano concertos played by the
Portuguese pianist Maria Joćo Pires. She has recently signed a new contract
with Onyx, having previously recorded for both Erato and DG. It may come as
a surprise to many that this is the first time she has taken a Beethoven
concerto into the studio although she has recorded for DG several of the
piano sonatas and the complete sonatas for violin and piano with Augustin
Dumay who has also signed up with Onyx. There are plans afoot for Pires and
Dumay to record Mozart violin sonatas, and even the enticing prospect of a
Beethoven Triple Concerto with Dumay and Antonio Meneses. I have always been
impressed with the exceptional high quality of Pires’ recordings and this
release lives up fully to my expectations. I was fortunate to hear the
pianist on one occasion, several years ago at a late night Prom, when she
played Chopin Nocturnes. My enthusiasm for her artistry has never waned.
What immediately impresses me is the orchestral detail that Harding
elicits from the players, some of which I hadn’t been aware of before. The
timpani especially makes its presence felt throughout. I love the way, in
the coda of the Op. 37 finale, it is used to great effect to emphasize the
downbeats, giving shape, rhythmic thrust and direction. The strings are rich
and warm, and the woodwinds shine forth with crystalline purity, conferring
a diaphanous halo of colour to the proceedings.
Beethoven took as his source of inspiration Mozart’s Piano Concerto K491
when composing his Third Piano Concerto, even adopting the same key
signature of C minor. Ten years separate the two. Mozart composed his in the
winter of 1785-86 and premiered it himself in the April 1786. Beethoven
began sketches for his concerto in 1796, but the main bulk of composition
was done in 1800, with completion in 1804. Both works are similar in that
they contrast introspection with unalloyed passion. The performance here
rises to the challenge and delivers a reading of grandeur mixed with drama
and lyricism. Pires’ tempi, dynamics and phrasing all add up to a
sensitively sculpted realization. In the slow movement, she brings to the
score a wealth of poetic insights, and the beauty of tone she achieves is
breath-taking.
Similarly in the Fourth Concerto, composed 1805-6, Pires’ instinctive
musicianship is to the fore and her playing is characterized by poise and
profundity. There is great nobility in the opening movement, underpinned by
spontaneity and freshness. I felt as though the music was being recreated on
the wing. There’s a sense of ominous portent about the brief slow movement
leading logically into the Rondo Finale where the tension is assuaged with
jollity, energy and vigour.
This release is dedicated to the memory of Claudio Abbado, who died
earlier in the year and with whom Pires made several Mozart concerto
recordings. The pianist provides an ‘Artist's Note’ in which she
shares her thoughts and insights on ‘interpretation’ and the delicate
balance between creation and recreation. With Pires it is not about
self-promotion and imposing her personality on the music yet, whilst she can
appear restrained, her playing is never understated.
Onyx’s engineers have achieved a superb natural sound-picture with an
ideal balance between piano and orchestra. This recording is a resounding
success and I have no hesitation in giving it my wholehearted endorsement.
Is this the start of a prospective cycle? Let’s keep our fingers
crossed.
Stephen GreenbankPrevious reviews:
John Quinn ~~
Simon ThompsonMasterwork Index:
Concerto 3 ~~
Concerto 4
