Evgeny Kissin - Beethoven Piano Concertos

Coupling Beethoven's earliest piano concerto with his last, pianist Evgeny Kissin and conductor James Levine emphasize the difference between Beethoven's earlier and later styles with remarkable aplomb.

The second concerto in B-flat major is Beethoven's first important orchestral work, and was influenced by his conservative teacher Haydn's work. The orchestra is smaller than those for Beethoven's other concertos, and Mr. Levine is adept at making this intimacy felt. While the orchestra he uses for No. 2 does not sound physically smaller than the one he uses for No. 5, the Philharmonia plays more lightly and gracefully in No. 2 than in it does in the more obviously heroic No. 5 (not called the "Emperor" for nothing). Kissin matches the orchestra with an agility of his own, particularly in the faster passages of the outer movements. His contrasts, especially dynamic contrasts, are not nearly as dramatic as those in No. 5, but sensible and classical. He uses the modern keyboard to convey his understanding of the concerto appropriately, without sounding restrained. I can't remember when I've heard a more convincing performance of early Beethoven on modern instruments. It is only in the slow movement that the cellos and basses of the orchestra are slightly heavier than they need to be and manage to weigh the movement down somewhat. The last movement is played with a contagious gaiety, providing a perfectly classical close.

No. 5, by contrast, is played with all possible pomp. The opening cadenzas and their return in the recapitulation are deservedly impressive as played by Kissin, and Levine gets a fiery, energetic sound from the Philharmonia. It is worth mentioning that there are several unstylistic tempo changes in the first movement, but when played so convincingly, they seem justified. The second movement contains some wonderfully sensitive playing from the orchestra and and great sense of direction on Kissin's part, which also occasionally disrupts the movement's serenity occasionally. The obviously contrasting last movement is played with a sustained energy not often heard in contemporary performances of Beethoven, and the famous finale does not sound like the stereotype it often does, but has a genuine heroic quality. Altogether, this is a wonderful release which will take its place among the greatest of these concertos'
many recordings.

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