Beethoven: Complete Piano Concertos

One can only imagine the feeling all these musicians had entering LSO St Luke’s to make such substantial music together at a time when all around us had that feeling of crumbling.Let’s also consider the circumstances of each musician having to sit so far apart from each other. It surely must have required a new way of listening to each other and working together. But musicians are both adaptable and resourceful as well as being deeply talented. They listen with their eyes as much as their ears, following intricacies of body language.The result is arguably the most refined and glorious orchestral playing these great concertos have ever received. In fact, I’d argue that they absolutely are! The fact that these were recorded ‘live’, albeit for a minuscule audience and DG streaming, makes them even more impressive.I remain in awe at the sounds achieved by the LSO under Sir Simon Rattle. This is the most translucent, elegant, visceral and magical playing - and that is before we even consider Krystian Zimerman!And in terms of solo pianist versus orchestra, this is a truly magnificent set of performances. The great pianist will surely have felt that need to express himself through music after months of isolation. The mix of clarity, elegance, fire and beauty is inspiring.2020 was the 250th anniversary of Beethoven’s birth, of course, and so many great plans were cancelled. If only one orchestral event were to represent the supreme achievement of Beethoven, this is a remarkable example. And whatever exceptional lengths were taken to make these recordings, we must thank both the LSO and Deutsche Grammophon.So to some details…The lightness and sheer elegance of the first concerto is to marvel at. The first movement literally bristles with energy, while the central Largo just touches your heart. This is spellbinding music making. Zimerman reaches into the soul of this music and achieves the most miraculous tone, and so does the LSO, whose chamber like sounds enthral. The final movement is both graceful and vigorous - always life affirming while making sure any sense of abandon is kept in context.But it is the same with the second concerto. It is hard to imagine such peerless, soul searching and uplifting musicianship created during the depths of a dark winter when mankind was so vulnerable. Phrases ‘sing’ with seemingly renewed breath, shaped by the most sensitive moulding, while the rhythms bounce with such energy. But Beethoven is all about mankind’s struggles, the superhuman and the elemental juxtaposed against even the tiniest fragments of natural beauty.There is a strikingly dramatic approach to the third concerto which commands attention - now the lion begins to roar. Yet all that same grace and empathy is found in abundance. This is all magnificently judged.When it comes to the fourth concerto, the sense of making chamber music is particularly evident. After Zimerman’s opening phrase, the LSO’s own iteration is heavenly. Thereafter follows a sense of pure delight - strength too. Zimerman’s pianism is again exceptional, with the coruscating lines perfectly etched, while the LSO’s woodwind play with exquisite refinement. The exceptional string sonority in the second movement is a striking example of the LSO’s overall achievement. We hear everything in perfect balance, imbued with a beguiling sense of line. The final Rondo is once again life affirming.The ‘Emperor’ receives a performance that is exhilarating and magisterial, tender and poignant. With this great concerto we reach a new place, and once again Beethoven’s inspiration is matched by peerless musicianship. A truly marvellous culmination.Perhaps it was the intensity of the recording schedule and the extraordinary circumstances that generated a palpable sense of journey from the youthful to mature. But with each concerto we ‘feel’ Beethoven’s development as a composer (even if the second concerto predates the first). Ultimately that is down to these great artists. Zimerman has now created a new set of Beethoven concertos that eclipses his previous magnificent DG set in many exceptional ways. Simultaneously, the LSO’s time with Rattle is now cut short. One can only consider what further glories might and could have been if their relationship had continued.The recording is outstandingly engineered. There is such clarity within a natural and warm acoustic. Every tiny pizzicato tells, every drum stroke has impact, yet all blends into an ideal.So what sets this recording apart from its many illustrious predecessors? Well, it ultimately boils down to the mix of soloist and orchestra. The soloist is supreme, as several others are, but in this case the orchestra is every bit as magical. I doubt the LSO has ever made a more glorious record, and they’ve made many wonderful recordings!

I was quite overwhelmed by these performance .The soloist and orchestra positively reveled in these wonderful pieces as if performing them for the first time. Too often performances seem to be too reverential in their approach but on this occasion the performers bring a freshness and enthusiasm to these works. A must buy for all Beethoven devotees.

I love the Beethoven Piano Concerti. These recordings are amongst the very best. In places the spirit of the music enveloped me and all surroundings were silenced.

One of the very best recordings of the five concertos.

Clarify of both the orchestra and soloist exceptional. A must have!!

I highly anticipated this release. Although the original release was flawless in performance there was some humming from Zimerman in the first three concertos.I have now listened to this new release two times and I am disappointed. For some reason I find the experience bland, the audio balance between the orchestra and piano are off. For me the piano is not present enough in the audio mix. Maybe this was a problem due to the social distancing during the recordings? I have found myself drifting away from really listening to the music throughout the whole listening experience, it does not capture my attention like the original recordings. I personally will keep listening to the Vienna version.

Aesthetically the vinyl set is absolutely superb with 5 lovely thick LPS; but like Goonie I have found the sound of Concerto No.1 far too balanced towards the orchestra. I feel rather embarrassed having played this record with the window open at a level that allowed me to appreciate Zimerman's playing

The replacement box set has the same problem, I now have 4 copies of piano concerto no 3,see photo, but no piano concerto no 4.