Shop now Shop now Shop now Shop All Amazon Fashion Up to 70% off Fashion Cloud Drive Photos Shop now Shop Amazon Fire TV Shop now Shop Fire HD 6 Learn More Shop now Shop now Shop now
 

More Options
Beethoven Piano Concertos 3, 4 and 5
 
See larger image
 

Beethoven Piano Concertos 3, 4 and 5

Artur Pizarro / Scottish Chamber Orchestra / Sir Charles Mackerras
4 May 2009 | Format: MP3

£8.59 (VAT included if applicable)
Also available in CD Format
Song Title
Time
Popularity  
30
1
17:05
30
2
9:00
30
3
9:17
30
4
17:56
30
5
4:25
30
6
9:47
Disc 2
30
1
19:51
30
2
6:04
30
3
9:50
Your Amazon Music account is currently associated with a different marketplace. To enjoy Prime Music, go to Your Music Library and transfer your account to Amazon.co.uk (UK).
  

Product details

  • Original Release Date: 4 May 2009
  • Release Date: 4 May 2009
  • Number of Discs: 2
  • Label: Linn Records
  • Copyright: 2009 Linn Records
  • Total Length: 1:43:15
  • Genres:
  • ASIN: B0029NM66M
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: 126,496 in Albums (See Top 100 in Albums)

Customer Reviews

4.4 out of 5 stars
Share your thoughts with other customers

Most Helpful Customer Reviews

9 of 10 people found the following review helpful By drdanfee VINE VOICE on 26 Jun. 2009
Format: Audio CD
At first glance by all rights, this pairing of big-toned pianist Artur Pizarro with the reduced band forces of the Scottish Chamber Orchestra ( led by Sir Charles Mackerras) should not work very well. The inherent potential contradictions between Pizarro's big singing tone, and the lively ensemble with a smaller number of players that a chamber orchestra typically indicates could reasonably be expected to sabotage the whole reading.

Truth is, that just doesn't happen on this set. All three piano concertos are high contenders. Three, Four, and Five (The Emperor).

Part of the thriving must be chalked up to the super audio surround sound which brings all the players to live so warmly, yet so clearly. The venue is the Perth Hall, UK. A quick glance at the set booklet reveals that the venerable James Mallinson was producer. If any producer should be able to get it right, Mallinson is surely on the A&R short lists. So. All in all, this set is a musical demo - not necessarily a flash and cannons demo - of what super audio surround sound can do for Beethoven well played. Recommended sound.

Pizarro does not try to shrink down his basic tone in these readings; that would be a musical mistake. What he does, is take very alert pains to vary his touch and phrasing so that his playing comes across in keeping with the overall warmth-plus-clarity-in-Beethoven that we are getting full tilt from the band. The gaps, between hearing a chamber band do Beethoven vigorously and hearing a big-handed player do the piano, never really materialize.

What does materialize in abundance is heart, singing tone, and a punch to drive home the intellectual and musical story.
Read more ›
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
8 of 9 people found the following review helpful By Flora Mac on 5 May 2009
Format: Audio CD
I have to say I was expecting to be disappointed with this album, because I could not imagine how their Mozart Symphonies album could ever be bettered. Mackerras is on fine form again with this recording. He always has something new to say, even with music that has been recorded many times. I was also hugely impressed with Artur Pizarro, who is a really talented pianist. Together with the SCO (who I find always perform their absolute best for Mackerras) they create performances which are not to be missed.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
Format: MP3 Download Verified Purchase
I don't know what those who say the tempos of these performances are `mainstream' are on about? All these performances are on the brisk side, and so much the better for it - you just have to listen to the slow mvt of the 5th to appreciate what a significant improvement is delivered. What chamber music players have known for the last 20 years, and the period performance advocates have been trying to demonstrate -though the battle is, remarkably, not yet won - is that everything in Beethoven is really a dance or a song - chopped up and perverted perhaps, but a dance or a song nonetheless.

These performances are an absolute game-changer. Once you've heard them then all the rest - including the ones you once loved - will just irritate you, and perhaps even make you angry - that anyone once thought they should sound like Bruckner 8 or Heldenleben. They're not Brahms or Rachmaninov? Why play them like it?
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
7 of 9 people found the following review helpful By DAVID BRYSON TOP 500 REVIEWERVINE VOICE on 29 Jun. 2009
Format: Audio CD
This is a very high quality production of its kind. Whether its kind will suit you I have no way of knowing, but I shall do what I can to explain what you will find here.

First, the orchestra is a chamber group, with 46 artists playing in each concerto. If you are accustomed to the 5th piano concerto played by a larger ensemble, so am I, and I can report truthfully that I sensed no lack of power or of full tone anywhere here. The conductor is the evergreen Sir Charles Mackerras, and as it is the orchestra that really sets the style, even in the 5th concerto, expect to hear orchestral introductions that are urbane rather than emphatic. I suppose that this is an issue mainly in no 3, where the first movement is directed to be played `allegro con brio'. I find myself hesitant to express a definite opinion about the way Mackerras handles this. Certainly I could imagine more brio, but thinking of other cases where Beethoven gives this instruction I don't seem to find it in the fieriest pieces. The first movement of the Eroica symphony and of the Waldstein sonata are `allegro con brio', for instance, whereas the far tenser first movements of the 5th symphony and the sonata Appassionata are not.

Pizarro's tone fits this approach like a glove, being rich in quality and not conveying any sense of deliberate restraint. Technically nothing bothers him, and that is more than one can say even today for many players in the rondo theme from no 5. Likewise his despatch of the fiendish sequences in that work's first movement where the left hand descends in chromatic scales in a cross-rhythm against the right hand is satisfyingly vigorous and uninhibited. It is not how Michelangeli or Serkin do it, but they are a different story.
Read more ›
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again

Look for similar items by category