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Beethoven - The Complete Piano Concertos - Aimard-Harnoncourt

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I often like to hear what pianists who specialize in contemporary music have to say about pieces from the established
repertoire; they tend to re-think even the old works. This, plus a recommendation from a friend, led me to buy this set
featuring Pierre-Laurent Aimard. I had heard him play part of Messaien's 'Vingt Regards' this past season and was
knocked out. Then I got his recording of the Ligeti Études and was convinced by them that he is one of the most
talented pianists today, at least in modern repertoire. I had heard rumors that Nikolaus Harnoncourt, having recorded a
very successful Beethoven symphony set with the Chamber Orchestra of Europe, was planning to record the Beethoven Piano
Concerti with them as well and I'd heard it was going to be with Martha Argerich. I later read, though, that she refused
to participate at least partly because she didn't know all five of the concerti and didn't want to learn the ones she
didn't already know. When I heard that the project was going ahead, but with Aimard, I was puzzled but very interested.
In the set's booklet, Aimard indicates that although he had never performed with Harnoncourt, the conductor had heard
him play a Beethoven sonata in recital and judged that he might make a wonderful collaborator. Aimard was,
understandably, a bit surprised at being chosen, but quickly agreed to the project. These recordings, then, were taken,
except for the recording of the Second Concerto, from live performances in Harnoncourt's hometown, Graz, Austria; the
Second was recorded live in the Vienna Philharmonic's home hall, the Musikverein. The 3-CD set presents the concerti in
the order in which they were written: 2, 1, 3, 4, 5.



There are a number of general comments to make about this collaboration. First, it is clear that both Harnoncourt and
Aimard have re-thought the pieces from start to finish. There are not simply gazing admiringly at well-known monuments.
They are getting up-close-and-personal and making observations, individually and together, that are fresh and new.
Further, their cooperation is stunning; Harnoncourt, whose long-standing relationship with the COE is such that he can
get anything he wants from them with a flick of the wrist, conducts the pieces as if the music were occurring to him in
the now. This means that there are many tempo alterations, pauses, accents, mouldings of phrases that sound spontaneous.
And Aimard matches him gesture for gesture. Occasionally this is irritating, but usually it is simply surprising and
enlightening. One thing is for sure: you never know what is just around the next corner. And this, of course, makes the
music fresh and exciting. Following along with score I noted no flagrant disregard of Beethoven's notated indications,
and indeed I saw that Aimard followed quite closely such things as Beethoven's sometimes quirky but always effective
pedal markings and accents.



The COE, as a result of Harnoncourt's background in early music, uses minimal vibrato, the winds and brass sound like
original instruments (although I don't know whether they actually are), the timpani are crisp (from leather-headed
sticks?) as they were in the Harnoncourt/COE symphony set. The sound picture is exceptionally clear and the dynamic
range exceptionally wide. The sound of the piano is not nearly as highlighted as it is in most concerto recordings;
rather it sounds like it does in a concert hall. This seems particularly so in the latter two concerti. This strikes me
as apt, since the Fourth is a rather like a symphonic fantasia with piano obbligato and the Fifth--in distinction to its
usual presentation as a grand Romantic concerto with heroic piano solo--is a symphony with piano. For this reason, the
Fourth and Fifth are particularly successful.



The slow movements are generally slower than usually heard, and they all feature heavenly string playing from the COE.
The muted strings in the slow movement of the Fifth are matched by Aimard's slightly covered sound and the effect is
heavenly. One doesn't want it to end, but when the final chord in B major resolves downward to the B flat opening of the
final movement it is like waking from a dream to find oneself in a fresh and wonderful new world--one of Beethoven's
master-strokes served up perfectly by Harnoncourt and his musicians. The colloquy--one might say 'debate'--between the
piano and the orchestra in the middle movement of the Fourth is more genial than in some performances, but this is in
the interest of a rather gentler overall approach in that concerto, one that I find attractive.



The Second concerto, usually played as a Haydnesque late-Classic concerto, is more full-blooded than one generally
hears; this may be partly due to the rich, warm ambience of the recording venue, the Vienna Musikverein. Whatever the
reason, I like this approach; I've often thought other performances have drained this concerto of its fire, focusing
rather on its music-box features.



The First concerto in C major is, for whatever reason, my least favorite of the five, but it is given a loving, nuanced,
sparkling performance here. The outer movements of the Third, in C minor, are the weakest of the set--although the
performances are not at all bad; the sound is a little muddy as well. Its middle movement, though, one of Beethoven's
loveliest movements, is perfect. Its stillness foreshadows the slow movements of Beethoven's late sonatas and quartets.
Harnoncourt and Aimard are in complete accord on its extremely slow tempo and time seems to stand still.



In summary, then, this is one of the most successful Beethoven Concerto sets I've ever encountered. I would not want to
be without Arrau/C. Davis (my favorite over the years), or various recordings by Gilels, Richter, Brendel, Ashkenazy,
Kovacevich, Schnabel (that glorious Fifth with the Chicago Symphony!) and others. For new insights, though, and a
slightly out-of-the-mainstream approach, as well as a deep satisfaction, I'll reach for this set often, I suspect.









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