Richard Goode - The Complete Beethoven Piano Concertos (3 CD)
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Music CD Cover
Artist: Richard GoodePerformer: Richard Goode
Composer: Beethoven
Conductor: Ivan Fischer
Orchestra: Budapest Festival Orchestra
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2009-05-05
Music Label: Nonesuch
Soundtracks:
Music CD 1
- Piano Concerto No. 1 in C major, Op. 15 (1795-98)
- Piano Concerto No. 2 in B-flat major, Op. 19 (1790-98)
- Piano Concerto No. 3 in C minor, Op. 37 (1801-02)
- Piano Concerto No. 4 in G major, Op. 58 (1805-06)
- Piano Concerto No. 5 in E-flat major, Op. 73 ('Emperor')(1809)
Free Music Notes for The Complete Beethoven Piano Concertos (3 CD)
Free Music Review: A top choice among budget Beethoven concerto cycles
Hit: 4 Stars
Since Richard Goode has earned a reputation for his Beethoven and Ivan Fischer has earned his for giving fresh interpretations of standard repertoire (mostly Czech and Hungarian), this set of Beethoven concertos bids fair to be one of the top choices. The bargain price is another incentive. I should state right away that the bloom is off the rose for me when it comes to both Fischer and Goode, but I will do my best to report what I hear without bias.
Concerto #1 -- As one would expect, Goode takes a classicist's view of early Beethoven, using the same touch and force that he applies to Mozart. In that vein he is very accomplished, although I've heard more sparkling and animated renditions. The pianist feels that he shouldn't provide personal touches where the composer doesn't call for them, so accents and dynamic shadings tend to be spare. Fischer accompanies with a light touch, fully sympathetic to the pianist. Everything is smooth, accomplished, and unadventurous. Within that framework, the nicest part of this Concerto #1 is Goode's lovely phrasing in the slow movement.
Concerto #2 -- Given how placid the first concerto is, I expected the same in the second. Fischer's orchestral introduction is a model of lively classicism, with touches of elegance that must be appreciated -- too many conductors dutifully trudge through this part of the job. Fischer's accompaniments would be lovely to listen to without the piano. Here again I find Goode correct and skilled but without "face." The playing is sleek but colorless, unless you happen to favor his reticent style, which many do. I'm pleased that the slow movement remains a real Adagio and isn't pushed to be Andante. Both conductor and soloist phrase beautifully. Among "touch pianists" Goode deserves the praise given to him. He shows a bit more liveliness in the finale than he did in Cto. #1, but the overall effect is civilized rather than ebullient.
Concerto #3 -- The C minor marks a turning point in Beethoven's concerto writing, and as a transitional work it gives performers the option to look forward or backward. I much prefer the strong, even heroic forward vision of a Serkin, but Leon Fleisher has shown that one can look backward to the classical era while remaining exciting. Although I knew what was coming, it disappointed me that Goode and Fischer are so resolutely classical that the third shows almost no sign of Beethoven's future. Still. they are stylish and alert, and Goode manages to build up some excitement in the development section of the first movement, within limits. As before, the slow movement is beautifully realized, to the point that I found myself being moved for the first time in the cycle. But Goode's measured pace in the finale contradicts what Beethoven wants, I think, which is real force and power (see Serkin and Bernstein in their exuberant reading on Sony).
Concerto #4 -- The Forth brings us into the world of mature middle-period Beethoven and therefore calls upon every shred of imagination and vision that a pianist can supply. Or you can keep going the way you were. With his polite solo introduction to the first movement, Goode announces that he is actually going to be more civilized than he was in the Third Concerto, and unfortunately Fischer doesn't goad him to anything greater. Even Brendel, who is too reserved for me in this work, thunders like Richter compared to this. Goode's best showing comes in the reflective sections of the first movement and, as ever, the slow movement. But don't expect Daniel in the lion's den; the dialog with the orchestra is decidedly tame. The finale is taken quietly but stylishly, if that's your bag.
Concerto #5 -- By now the listener will either take Goode on his own terms or seek more heroic readings. I imagine that many will stick the course. In this era of house-trained Beethoven, even the Emperor concerto can be played at half power and please audiences. Goode shows considerable technical assurance here, but of course his interpretation isn't remotely heroic. I can't argue with the flowing, songful slow movement, here played as soothing night music. Goode fudges the technical demands of the finale with slow tempos and cautious phrasing, but for once Fischer rises to the occasion with a forceful accompaniment where it's called for.
In all, this is a cycle that has few flaws if you accept Goode's well-known classical style. The sound is fine, and Fischer's Budapest orchestra performs stylishly. It's a shame that every concerto seems cut from the same cloth. I don't imagine that Beethoven felt the same as he moved from youth to maturity, and we have every reason to believe that he was a fiery, tempestuous pianist himself. Absent that kind of temperament, Goode acquits himself in a civilized manner. Tea, anyone?
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