Dvorak's Piano Concerto

[Mark]

I seem to be starting a lot of topics lately on the subject of Dvorak and his works (what with the String Quartets and Symphonies threads already in existence). Perhaps I'll soon be 'associated' with this composer in the appropriate thread.

This is, perhaps, the least virtuosic of 19th century piano concerti - it's writing for orchestra and soloist more a genial (and, at times, moving) dialogue than a pitch battle on the scale of, say, Tchaikovsky's First in this genre. For a time, it was popular and common to hear well-meaning 'revisions' of this work in the concert hall; but at least since Richter's famous 1977 EMI recording, you're more likely now to encounter the work in its original form (i.e. with the solo writing precisely as Dvorak penned it - the orchestral writing has never, AFAIK, been tampered with).

In time, I'll share my thoughts on that Richter recording (available now in EMI's 'Great Recordings of the Century' series), but I wanted to kick off with a mini review of this one, which I received today and have played through twice:



I should begin by declaring a preference (among the four recordings of this work that I own) for Jando's recording on Naxos with the Polish National Radio Symphony Orchestra under Wit. Again, in time, I'll give my views on that performance, but suffice it to say for now that it sparkles, especially in the solo lines, with a magic that captured me from the first and made me adore this work quite a bit more than perhaps I should - there are a good deal more piano concerti that deserve the name, perhaps, than this one, but there you have it.

So what of the Harnoncourt/Aimard treatment? This live recording (you'd hardly know it; only a mild cough here and there gives away the game) benefits from an excellent acoustic, which is no surprise as it was captured at the world-famous Het Concertgebouw, Amsterdam, in October 2001. The orchestral colour and texture is nicely balanced, with my only complaint being that the strings might've been a tad too closely recorded, as there is definitely a detectable if only occasional 'burr' to their sound when listening through headphones. Not that this matters much: the overall effect is in no way fatiguing to listen to, and it's when the piano comes in that you appreciate the engineers' commitment to NOT trying to make it sound 'front and centre', as seems to have happened with so many reissued recordings of piano concerti in recent times.

Aimard's playing is delicate - and that really is the best word to describe it. In keeping with the lack of virtuosic display required by this work, he convinces you of its value by maintaining a compelling, generally well-paced dialogue with his orchestral counterparts. There are times when I think Harnoncourt takes his eye off the ball momentarily, and doesn't give Aimard quite the support I feel his approach deserves, but I'm sure that's just my personal view. In contrast to my preferred Jando recording, this one doesn't grip me in the same way, but it does make clearer, if only briefly, certain parts of the orchestral writing, which is as I'd expect from Harnoncourt.

The beautiful second movement sees Aimard in his element; here's where his delicate playing pays dividends. As I said, there's magic for me in the Naxos recording, and its in this movement of any other that I listen for it closest. Those two little piano flourishes that occur a few minutes in: I want these to surprise me and awaken me from the gentle writing that preceeds them. Does Aimard manage the magic here? Almost. His touch is perhaps a tad too light, and once these flourishes are gone, it's then that I notice Harnoncourt pulling back a little, coming in to support the soloist a fraction later than does Wit on Naxos. For me, this makes a discernible difference; not one I'm uncomfortable with, but I prefer it the way Jando and Wit play it.

The finale of this work is, for me, one of the most inevitable I've ever heard in a piano concerto. Having heard the first two movements, you just feel that the third is their perfect complement and equal. Jando attacks notes more throughout this last section, while Aimard sticks to his more delicate (that word again) style. That's not to say it doesn't work, nor that there comes a sense of anti-climax. It's sensitively done and obviously well thought out, rounding off the work nicely and earning this recording a joint-second position (for now ) with Richter's.

So, while I go off and listen to other recordings of this work, what are your thoughts on it? Which recordings have you heard, and what did you make of these?

[bhodges]

Thanks for that nice thorough write-up, Mark.  I've been eyeing that CD for some time now, since I don't think I have a single recording of that piece.  But as a fan of Aimard, the conductor, and the orchestra, I'd be very inclined to get this one.

--Bruce

[Mark]

I'd say go for it, Bruce. There's much to admire ... certainly more than in this disappointing alternative:

[bhodges]

Interesting, since that would appear to be really good on paper.  I don't know the pianist at all, but Ehnes, Noseda and the BBC are all known (and excellent) quantities.  Strange, isn't it, how that works sometimes! 

--Bruce

[Lethevich]

I have found that with matters of Czech music, Supraphon should generally be checked out at the same time as the initial choices are investigated, as the musicians they record have been playing the music a lot longer than most other performers. I bought this 2 CD set (below) on release so that I would have a decent copy of the cello concerto, and it almost converted me to the piano concerto as well. Well-recorded and extremely delicate, but perhaps a little restrained.

Unfortunately for a 2 CD set, it's shockingly poor value (an average of 40 mins per disc, ignoring the video clips, which are pointless), but luckily it's a new Supraphon release, so it's in a slimline case rather than the titanic old-style double thickness ones. Despite the short length, if the set can be found for the price of a single CD, it's worth picking up. It hasn't made me enthusiastic enough about the piano concerto to pick up another copy recording, though

[Mark]

Interesting, since that would appear to be really good on paper.  I don't know the pianist at all, but Ehnes, Noseda and the BBC are all known (and excellent) quantities.  Strange, isn't it, how that works sometimes! 

--Bruce

The Violin Concerto I can't yet comment on, but the Piano Concerto sags too much for my liking. Superb acoustics, though.

[Mark]

I have found that with matters of Czech music, Supraphon should generally be checked out at the same time as the initial choices are investigated, as the musicians they record have been playing the music a lot longer than most other performers. I bought this 2 CD set (below) on release so that I would have a decent copy of the cello concerto, and it almost converted me to the piano concerto as well. Well-recorded and extremely delicate, but perhaps a little restrained.

Unfortunately for a 2 CD set, it's shockingly poor value (an average of 40 mins per disc, ignoring the video clips, which are pointless), but luckily it's a new Supraphon release, so it's in a slimline case rather than the titanic old-style double thickness ones. Despite the short length, if the set can be found for the price of a single CD, it's worth picking up. It hasn't made me enthusiastic enough about the piano concerto to pick up another copy recording, though

Thanks, Lethe. I spotted this recently and wondered whether or not to take a punt on it. Perhaps I will.

[BachQ]

Richter

[Mark]

Richter

Detailed, insightful and conversation-provoking as ever.

[BorisG]

I have heard enough recordings of this work to know I do not like it yet. I may give Moravec a try. Has anyone heard his?

[hornteacher]

I'd say go for it, Bruce. There's much to admire ... certainly more than in this disappointing alternative:

The PC isn't fantastic on this CD but the VC is wonderful!

[Gurn Blanston]

Richter

Ditto.




OK, Mark, I won't do you thataway.  

As much as I love Dvorak, this was a work I could never connect with. I can't now remember the versions I tried and was disappointed with, but as I was about to give up, Todd rec'd the Richter GROC and I figured what the heck, give it a try. For a pianist who fits hand in glove with virtuosity, Richter does a splendid job of making you forget that this piece doesn't work well that way. I think he does an excellent job of bringing out the lyricism of the writing without trying to make more of it than it is. It is very satisfactory to my ears.


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Now playing: Schubert D 036 - Melos Quartet - Schubert Quartet in Bb for Strings No 3 D 36 1st mvmt

[Mark]

For a pianist who fits hand in glove with virtuosity, Richter does a splendid job of making you forget that this piece doesn't work well that way. I think he does an excellent job of bringing out the lyricism of the writing without trying to make more of it than it is. It is very satisfactory to my ears.

You're not wrong. The Richter is a terrific buy/listen, with Kleiber absolutely spot on for the most part. I'd love to hear this recording unremastered: Richter is too 'square' in the audio picture on the GRoC reissue, his instrument too bright and even a little brittle in the first movement in particular. Great performance, though, no doubt about that.

[Brian]

The PC isn't fantastic on this CD but the VC is wonderful!

That is one of the best Dv violin concerto performances I have heard. However, I'm still dissatisfied: it seems that although the second two movements are (respectively) meltingly beautiful and an absolute delight in every recording I hear, no performer has yet really (to my ears) gotten the first movement right. It's a strange movement, of course, with the sad, strangely suspended solos at the beginning and the constant harping on the main theme and only a single appearance for one of the most beautiful melodies Dvorak ever wrote. Ehnes does well by it, far better than the ghastly Midori or even Ilya Kaler if I remember correctly ... but I still haven't found the "perfect performance".

Anyways, Mark, looking forward to your continuing piano concerto survey, as I am in the market for such a disc. I remember hearing Firkusny on the radio years ago and feeling a little cold about the finale and some tame parts elsewhere, but that was the first time I had ever heard the work so maybe the problem was a lack of affection for the piece itself? I put on the Jando (via NML) a couple weeks ago and stopped it after five minutes, but I can't remember why. Will give the piece a full listen soon.

[Mark]

I remember hearing Firkusny on the radio years ago and feeling a little cold about the finale and some tame parts elsewhere ...

Ah, the man who was (in part) responsible for the changes to the solo part. This may have been why you didn't warm to it.

[Daverz]

Ah, the man who was (in part) responsible for the changes to the solo part. This may have been why you didn't warm to it.

Firkusny recorded the original at least once, with Susskind on Vox.

I do think the Aimard recording is fantastic, and it would be my first recommendation.

[Mark]

Firkusny recorded the original at least once, with Susskind on Vox.

Yes, later in life he reverted to playing it 'as is' ... but not consistently, or so I hear.

[Brian]

Firkusny recorded the original at least once, with Susskind on Vox.

If that was with the Saint Louis Orchestra, that's the one I'd heard.

[hornteacher]

That is one of the best Dv violin concerto performances I have heard. However, I'm still dissatisfied: it seems that although the second two movements are (respectively) meltingly beautiful and an absolute delight in every recording I hear, no performer has yet really (to my ears) gotten the first movement right.

I still haven't found the "perfect performance".

Hilary hasn't recorded it yet.

[Que]

Anyone familiar with this one?


Q