Beethoven: Piano Concertos Nos. 4 and 5. Reed Tetzloff, piano; Paweł Kapuła, conductor; Prague Philharmonic Orchestra. Aparté Music AP364. ISBN: 5051083202794.
By now these two concertos boast hundreds of recordings, including plenty of legendary ones. Whenever yet another appears, my question is always whether or not the performers really add anything special to the catalogue. For Reed Tetzloff, Paweł Kapuła, and the PPO, I had the modest anticipation of solid performances. Upon listening I have to say that this expectation was exceeded with both concerti, but especially the Fourth. I'll admit that Tetzloff had previously flown outside of my radar. But now he's firmly on it, and I'm eager to check out the rest of his discography.
Tetzloff's main pianistic assets are a solid technique and an individual sound. His playing advocates for itself nicely in this repertoire, which is well suited to his gifts. Best of all, he has a stunning, shimmering tone in the gentler passages. This is why his Fourth Concerto interpretation really stood out to me. Those who perform this work best are able to match their own inner lyricism to that of Beethoven's most innately lyrical essay in the genre. By doing so, some give this work a saturnine tint, others imbue it with a soft inner glow, etc. Tetzloff offers up a sunny radiance that brings out according aspects of this work in a way I may have never heard before. This is particularly noticeable in the first movement during those time-suspended melodic moments after climactic builds. Most good pianists can make these moments sound nice indeed, but Tetzloff adds his own indelible stamp in a way that enhances rather than trods upon the music.
The Emperor Concerto is nearly as good. Its more militaristic mien doesn't quite showcase Tetzlaff's strengths as well as the Fourth, but he acquits himself very ably anyway. The greater presence of crashing chords and other heavy figures finds him up to the task, but perhaps just a bit more amiability peaks through than usual. (I am perfectly fine with this!) The quicker passagework is cheerfully, even brilliantly dispatched.
I found Paweł Kapuła and the Prague Philharmonic Orchestra to be favorable pairings for Tetzloff. Their playing is tasteful and idiomatic, providing the soloist with all he needs to shoulder the interpretive burden. There was a point in one of the fast movements of No. 5 where the timpani erupted onto the scene much too forcefully for my liking. But it didn't last long and doesn't amount to a huge deal. Those getting to know these concertos for the first time will find an ideal recording here: individual in the best sense and free from overbearing mannerisms. Seasoned collectors should listen to it and be thrilled that new generations of performers keep finding fresh delights in old masterpieces.
Enthusiastically Recommended
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