# Good recordings of Beethoven's piano concertos.



## Declined

I have Brendel's with Haitink and the London Philharmonic. I'm not impressed by Brendel's playing. It seems bland to me. Though I like how it is conducted and the playing by the orchestra. I don't want something that is pre-1970. Any suggestions? Thanks.


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## DiesIraeCX

Declined, I apologize I can't recommend a wide array of recordings, but of the few I have heard, the Fleisher-Szell/Cleveland box set is PHENOMENAL. It has spoiled me, even Kempff's celebrated recordings of the 4th and 5th with Berlin pale in comparison (to my ears). There are plenty of others here on this forum that have praised it just as highly as I have.

It also comes with both of Brahms' piano concertos and Mozart's 25th.


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## hpowders

Leon Fleisher/George Szell/Cleveland Orchestra. Incomparable!


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## Declined

Hmm. Two recommendations of the same recording in a row. I must examine this.


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## Pip

I would add a third recommendation as well- Szell and Fleischer are fabulous - or even Szell and Gilels if they are still available.


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## bharbeke

I've found the following excellent versions on YouTube:

1: Murray Perahia, Georg Solti
3: Martha Argerich
5: Krystian Zimerman, Leonard Bernstein, Vienna Philharmonic

I've found decent but not spectacular versions of 2 and 4. I'll see if I can find the Fleisher versions.


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## Albert7

I recommend Helene Grimaud's recording of the Emperor Concerto for the DG label.
Uchida does very well too.

Fleisher's version is a classic.


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## isorhythm

I like that Zimerman/Bernstein set.


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## DavidA

There are so many tremendous recordings available. Of complete sets, Serkin, Kempff, Fleisher, Kovacevich, Perahia are all really good in their different ways. For something really different try Glenn Gould. Baremboim with Klemperer is never less than interesting. Brendel with Rattle is fine too. We really are spoiled for choice.


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## Guest

I love the Kempff/Berlin recordings of the 4th and 5th. Wonderful.

But if you want modern, I really enjoy the Sudbin/Vanska recordings of the 3rd, 4th, and 5th on BIS.


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## Haydn man

I would put in a mention for Perahia with Haitnk for the set, and a special mention for Arrau with Davis for the 5th


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## hpowders

Even though he is not my favorite pianist, Alfred Brendel with James Levine conducting the Chicago Symphony is a very fine set.


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## Declined

I just bought Fleisher/Szell from Amazon. Should be here by Friday. Thanks everyone.


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## Albert7

Here you go:


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## Becca

Declined said:


> I have Brendel's with Haitink and the London Philharmonic. I'm not impressed by Brendel's playing. It seems bland to me. Though I like how it is conducted and the playing by the orchestra. I don't want something that is pre-1970. Any suggestions? Thanks.


While it slightly predates your 1970 cut-off (why such an arbitrary date?) The Daniel Barenboim/Otto Klemperer set has always been one of the best. The sound is great and the combination of a young Barenboim and Klemperer, the elder statesman, makes for fascinating listening.


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## Albert7

Declined said:


> I have Brendel's with Haitink and the London Philharmonic. I'm not impressed by Brendel's playing. It seems bland to me. Though I like how it is conducted and the playing by the orchestra. I don't want something that is pre-1970. Any suggestions? Thanks.


http://www.allmusic.com/album/beethoven-piano-concertos-mw0001824666

The Fleisher cycle from pre-1970's . But well recorded with balanced engineering. My stepdad owns it on CD .

Worthy introduction to the world of this important cycle.


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## Albert7

For reference, the Fleisher/Szell can be previewed at:


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## Ukko

Arrau/Davis for the 4th, Cliburn/Reiner in the 5th. Note that I am ignoring your 1970 cut-off.


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## Celloman

I have Brendel with Levine and the CSO:









Good live recordings.


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## Guest

I've been listening to the BIS recordings by Ronald Brautigam with Norrköping Symphony Orchestra and Andrew Parrott. They are excellent if you like the fortepiano sound.


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## Albert7

In fact, I would suggest having multiple recordings of the pieces since they are so rich.


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## Declined

albertfallickwang said:


> In fact, I would suggest having multiple recordings of the pieces since they are so rich.


That is my intent. If I ever get any extra money, I was thinking of getting Haitink/Perahia. How's that one? I head that Perahia is much better with Mozart. But I like Haitink and the RCB.


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## Hmmbug

I like Gould/Golschmann for the first, as unlikely as that may seem. Gould wrote one of the better cadenzas the piece has seen.


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## Albert7

Hmmbug said:


> I like Gould/Golschmann for the first, as unlikely as that may seem. Gould wrote one of the better cadenzas the piece has seen.


Gould definitely was a genius improvising on Beethoven. I agree with you there.


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## Überstürzter Neumann

Jerome said:


> I've been listening to the BIS recordings by Ronald Brautigam with Norrköping Symphony Orchestra and Andrew Parrott. They are excellent if you like the fortepiano sound.


Huh? Brautigam is playing on a modern piano on those recordings. That said, they are quite good.
For my own part, I am a great fan of Harnoncourt, so my recommendation would be this one (modern piano).

For something weird, but very fascinating (you will probably hate it or love it), try this one; fortepiano and a very small ensemble.


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## Tristan

Maybe try Evgeny Kissin? I have his set and I like it plenty, maybe more than the Brendel.


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## Guest

I've never bought a complete set, but I have two or three or four performances of each PC. I would strongly recommend Yevgeny Sudbin with Osmo Vanska and the Minnesota Orchestra for PCs #4 and #5. Probably #3 as well but I don't have that disk.









Really top-flight stuff with no cobwebs!


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## Mandryka

Lennart said:


> Huh? Brautigam is playing on a modern piano on those recordings. That said, they are quite good.
> For my own part, I am a great fan of Harnoncourt, so my recommendation would be this one (modern piano).
> 
> For something weird, but very fascinating (you will probably hate it or love it), try this one; fortepiano and a very small ensemble.


But surely Schoonderwoerd is less "weird" than Harnoncourt - in the op 15 for example. Both are excellent.


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## shadowdancer

For the "Emperor" I would like to point this one. Great sound and great performance.


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## Albert7

Declined said:


> That is my intent. If I ever get any extra money, I was thinking of getting Haitink/Perahia. How's that one? I head that Perahia is much better with Mozart. But I like Haitink and the RCB.


I would suggest the Grimaud one but just it is my bias. She does fireworks all over Beethoven.


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## tempo

Jerome said:


> I've been listening to the BIS recordings by Ronald Brautigam with Norrköping Symphony Orchestra and Andrew Parrott. They are excellent if you like the fortepiano sound.


Except for the fact that they are played on a modern piano, NOT fortepiano.

Odd to choose such a specific, non-mainstream recording and then get the type of piano being used completely muddled.


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## KenOC

I've been very fond of the Kovacevich/Davis set of the Beethoven concertos. Decca has just repackaged these along with the Diabellis, some sonatas, and other solo piano music in a box that's quite cheap from Amazon 3rd party sellers.

http://www.amazon.com/Collectors-Be...r=8-5&keywords=beethoven+concertos+kovacevich


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## hpowders

If you are looking for the best individual performances, check out Sviatoslav Richter with the Boston Symphony conducted by Charles Munch in the most playful, joyful performance of the Beethoven First Piano Concerto that this listener has ever encountered.


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## Vaneyes

Ashkenazy/CSO/Solti (rec.1971/2); Kissin/LSO/C. Davis (rec.2007); Lewis/BBCSO/Belohlavek (rec.2009/10).


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## hpowders

A fine individual performance of Beethoven's greatest piano concerto, the fourth is with Artur Rubinstein, piano and the Symphony of the Air conducted by Josef Krips.


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## Guest

Lennart said:


> Huh? Brautigam is playing on a modern piano on those recordings. That said, they are quite good.


My bad. I was thinking of Brautigam's recording of the sonatas which I also have. But yes his concerto recordings are not just good but excellent imo.


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## tempo

Jerome said:


> My bad. I was thinking of Brautigam's recording of the sonatas which I also have. But yes his concerto recordings are not just good but excellent imo.


They wouldn't be to everyone's taste though - the tempi chosen is generally fast...very fast, in fact. For example, the adagio from the Emperor concerto comes in at 6.20, which is WAY faster than most people are used to. I'd say a lot of members here would be far happier with this movement at 9.20.

However, I bet Brautigam/Parrott have it a lot closer to what Beethoven intended than most.

Still, I find it a touch too fast in places. I'd recommend this set:

http://www.naive.fr/en/work/beethoven-piano-concertos--francois-frederic-guy-philippe-jordan


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## Heliogabo

Radu Lupu with Zubin Mehta and the Israel philarmonic made a very fine set too.


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## tempo

Heliogabo said:


> Radu Lupu with Zubin Mehta and the Israel philarmonic made a very fine set too.


I often very much enjoy Lupu's recordings.


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## pentaquine

shadowdancer said:


> For the "Emperor" I would like to point this one. Great sound and great performance.
> View attachment 64269


Agreed, very fresh reading.


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## Albert7

I never was a fan of Andre Watts doing this.


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## csacks

Claudio Arrau/Sir Colin Davis Davis has been mentioned, is a fine set and Daniel Barenboim/ Otto Klemperer (2006) is very good as well. Barenboim interpretation of the first concert is my favorite. Look for the old records by Rudolph Serkin/George Szell, another old good record.


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## hpowders

Within the Fleisher/Szell set, the Third Concerto is the best performance. I've never heard a better one.


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## Albert7

The Fleisher set is incredible too... every single performance is a winner.


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## MarkW

Add me to the Fleischer/Szell camp. If sound weren't a criterion, I would recommend the Fourth by Schnabel/Stock/CSO.


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## Albert7

Now I really wish that Grimaud would record all five of them on CD in a cycle. She is somewhat young but still.

She is very exquisite in her interpretations.


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## HaydnBearstheClock

Stefan Vladar's 4th and 5th on Naxos are very good, imo.


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## Albert7

albertfallickwang said:


> Now I really wish that Grimaud would record all five of them on CD in a cycle. She is somewhat young but still.
> 
> She is very exquisite in her interpretations.


Grimaud only did the Piano Concerto 4 on Warner which is early for her and the 5 on DG... I think that she would need to re-record the 4th and 1-3 too.


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## Guest

Can anyone tell me if the Pollini/Abbado cycle from the early 90's is good?


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## AnotherSpin

If we speak only about comparatively new complete sets, then I would recommend to check from:
- Perahia/Haitink
- Lupu/Mehta
- Bronfman/Zinman
- Brautigam/Parrot
- Aimard/Harnoncourt
- Andsnes - also if one care about high-res sound


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## hpowders

Fleisher/Szell.


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## CMonteverdi

I find Uchida's set really enjoyable... 
I've Andsnes Beethoven journey, too... nice but i find it somehow "thin"...

LK


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## Albert7

CMonteverdi said:


> I find Uchida's set really enjoyable...
> I've Andsnes Beethoven journey, too... nice but i find it somehow "thin"...
> 
> LK


I need to hear Uchida's cycle. I heard many many wonderful things about that one.


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## HIDEKI SUKENOBU

*Richter's #1 is the one I reach for when I'd like to this work.*

:tiphat:


hpowders said:


> If you are looking for the best individual performances, check out Sviatoslav Richter with the Boston Symphony conducted by Charles Munch in the most playful, joyful performance of the Beethoven First Piano Concerto that this listener has ever encountered.


Maybe this work was recorded, his peak had gone. But I love this recording. And also I like Brahns' #2 while he recorded in US.:tiphat:


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## Mandryka

hpowders said:


> If you are looking for the best individual performances, check out Sviatoslav Richter with the Boston Symphony conducted by Charles Munch in the most playful, joyful performance of the Beethoven First Piano Concerto that this listener has ever encountered.


 There are several recordings of Munch/Richter in op 15, live and studio.

Op15 is now my preferred Beethoven concerto I think.

I'm curious about what people think of Richter/Eschenbach, recorded nearly 30 years after the one with Munch.

The performance is so challenging, especially in the allegro, that's it's easy to have a knee jerk reaction and say it's just not very good. An off day with an unsympathetic conductor. That certainly was my initial reaction.

But now I don't think things are so simple. First, Richter himself was proud of the performance (p327 of the Notebooks.) Second, the largo shows he is far from having an off day -- IMO his performance there is more impressive than with Munch. Same for the astonishing first movement cadenza. True the third movement is slower than we normally hear - but historically informed performances sometimes play it even slower (Schnooderwoerd), so maybe Richter and Eschenbach were on to something there.

It's the Allegro which is the problem. When you see allegro con brio you expect more vigour . But repeated listening is convincing me that there are ideas in that performance, they've thought it through. They've made it into something extremely dark and serious, which is maybe not what we're used to in this concerto. But there are some strikingly serious and deep things in the music, both in the orchestral intro and in the piano part later on. So maybe that way of playing it is not without some basis.

I don't know, and I wonder what other people think. I will say it's a performance I find fascinating, difficult and in a way, more interesting than the ones with Munch and Ancerl and Kondrashin from the 1960s.

I would say similar things about the Mozart concerto 18 with Barshai, by the way. And the Mozart 24 with Muti.


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## AnotherSpin

Mandryka said:


> I'm curious about what people think of Richter/Eschenbach, recorded nearly 30 years after the one with Munch.


I do not want to be too critical, but that is what I am hearing in this recording: Richter plays rather himself, than Beethoven. He commands instrument as usual, but he seems to be concerned mostly with the impression he projects outside rather than with music. Orchestra plays separately, I wonder if soloist and band were recorded simultaneously, or in separate sessions...)


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## Stavrogin

What if you wanted to be too critical instead? ;D


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## Albert7

AnotherSpin said:


> I do not want to be too critical, but that is what I am hearing in this recording: Richter plays rather himself, than Beethoven. He commands instrument as usual, but he seems to be concerned mostly with the impression he projects outside rather than with music. Orchestra plays separately, I wonder if soloist and band were recorded simultaneously, or in separate sessions...)


Interestingly enough, that could be the same criticism lodged against Glenn Gould and his take on the Beethoven.


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## AnotherSpin

Albert7 said:


> Interestingly enough, that could be the same criticism lodged against Glenn Gould and his take on the Beethoven.


 I just love Gould's Emperor...)


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## DavidA

Mandryka said:


> I'm curious about what people think of Richter/Eschenbach, recorded nearly 30 years after the one with Munch.
> 
> .


The tempo for the first movement is far too slow and it doesn't come off. Reminds me of the tempo when Eschenbach was the soloist for Karajan in the same concerto, which DID come off largely due to the rapt interplay between conductor and soloist missing on the Richter. The tempo is allegro con brio - i.e. fast with life and vivacity - which Eschenbach as conductor simply doesn't do.


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## Albert7

Another recording that i have yet to explore is this cycle.


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## CMonteverdi

CMonteverdi said:


> I find Uchida's set really enjoyable...
> I've Andsnes Beethoven journey, too... nice but i find it somehow "thin"...
> 
> LK


I've been listening several time the Andsenes' 5th and i've understood that thin is not a fair statement... i really enjoyed this performance: pure, crystalline, clear.

LK


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## AnotherSpin

Another good set of piano concertos included in box of all sonatas is by Friedrich Gulda.


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## HIDEKI SUKENOBU

Incidentally I listened to Michelangelli's #1,#3 & #5 concertos. They were mostly played slowly and I felt them tedius. Is this the same person who played _Mozart's #25 concerto_, I think. A very sad and _mottainai_ loss of time.


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## hpowders

I have and like the Alfred Brendel performances with James Levine/Chicago Symphony, recorded "live".


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## Declined

I'm quite content with Fleischer/Szell.


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## juliante

I've just listened to the 3rd on the radio and realised it should have a place in my CD collection. This old thread doesn't have much in the way of specific recs for the 3rd.....anyone offer any?


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## DavidA

juliante said:


> I've just listened to the 3rd on the radio and realised it should have a place in my CD collection. This old thread doesn't have much in the way of specific recs for the 3rd.....anyone offer any?


Fleisher / Szell
Serkin / Bernstein
Richter / Wislowki


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## CnC Bartok

I have these in complete sets, but the ones that for me do No.3 particularly well would include:

Stephen Bishop Kovacevich/Colin Davis (Philips)
John Lill/Alexander Gibson (CfP)
Paul Lewis/Jiri Belohlavek (Harmonia Mundi)

And my golden oldie
Rudolf Serkin/Bernstein


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## bharbeke

No. 3:

Barenboim, Staatskapelle Berlin
Ilana Vered, Kazimierz Kord, Warsaw Philharmonic Orchestra
Kissin, Davis, London Symphony Orchestra


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## millionrainbows

AnotherSpin said:


> Another good set of piano concertos included in box of all sonatas is by Friedrich Gulda.


I second AnotherSpin's Gulda recommendation. It's well recorded and played, and it's the one I "imprinted on" on London vinyl LPs many years ago. I also have Rudolf Serkin's set, and like it very much.


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## DavidA

Ashkenazy with Solti is a good (if unlikely) combination. And don't forget Perahia and Haitink

Argerich has recorded some too. Always worth hearing


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## Kiki

The set is a nice surprise. Gone through No. 3 and No. 5 so far, Uchida/Rattle have produced a rich, grand and masculine sound, in fact more old-fashioned than I'd expected; but this is relative, as I really enjoy Beethoven played on period instruments, but I can't help feel that the fortepiano sounds restrained in Beethoven's concertos. On a modern grand and a modern big band, I do miss the lightness and elegance of Lupu/Mehta; but then there is that that Rattle sound, full of cosmetics (?), love it or hate it, can be pretty addictive.

P.S. Why is it *Sir* Simon Rattle but no *Dame* Mitsuko Uchida printed on the cover? Perhaps the British folks could enlighten me? As I understand some people prefer not to use their titles in public (if I remember correctly, e.g. sir Antonio Pappano.) Not sure if that is the case here with Uchida.


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## ccar

*Gilels - Masur live*

Although I may not be very sensible to a few of the interpreters that were mentioned in this thread, there are so many other different and wonderful readings that I always find it impossible to write a short list of favorites. However, sometimes a given composition may evoke a particular recording that touched us and was somehow unexpected. 
This happened a few years ago when I listened to the complete set of Beethoven piano concertos recorded live in Moscow (1976) with Emil Gilels and Kurt Masur (Brilliant Classics 92132). Gilels is such a phenomenal artist but, particularly with Masur conducting, I must confess I was expecting his beautiful golden tone would be enwrapped in a noble but poised and well-behaved reading. Not in these performances - what we get is a fiery and volcanic Gilels in a constant dialogue with a lean and very lively orchestral response.


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## 444mil

Kissin, Davis, London Symphony Orchestra . The best for me.


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## Phil loves classical

Kempff's first cycle on DG mono.


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## flamencosketches

I really love Glenn Gould's cycle of the Beethoven concertos. Perhaps a left-field choice, but his playing is what made these works finally make sense for me. I especially like 3 and 5 in this set. 

Mitsuko Uchida has a good recording of 3 and 4 with Kurt Sanderling and the RCO. I think there is probably something to the Gilels/Szell/Cleveland recordings too but it hasn't clicked with me yet. 

Some I intend to check out are Alfred Brendel, Artur Schnabel, Wilhelm Kempff (love all 3 in the sonatas), Rudolf Serkin... there are many recordings of these core-repertoire works. As I may have alluded to, I'm just beginning to wrap my head around them and appreciate them.


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## Mandryka

Aimard and Harnoncourt seems to me such an imaginative and fresh response to the music that I think it's essential to know really. And I think that Schoonderwoerd's recordings show the music with such surprising new textures that it also would be a shame not to know.

There's a really outstanding one of the third, this









And I vaguely remember thinking that this one with Rubinstein and Motropoulos is outstanding even though the sound leaves a lot to be desired


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## CnC Bartok

Kiki said:


> The set is a nice surprise. Gone through No. 3 and No. 5 so far, Uchida/Rattle have produced a rich, grand and masculine sound, in fact more old-fashioned than I'd expected; but this is relative, as I really enjoy Beethoven played on period instruments, but I can't help feel that the fortepiano sounds restrained in Beethoven's concertos. On a modern grand and a modern big band, I do miss the lightness and elegance of Lupu/Mehta; but then there is that that Rattle sound, full of cosmetics (?), love it or hate it, can be pretty addictive.
> 
> P.S. Why is it *Sir* Simon Rattle but no *Dame* Mitsuko Uchida printed on the cover? Perhaps the British folks could enlighten me? As I understand some people prefer not to use their titles in public (if I remember correctly, e.g. sir Antonio Pappano.) Not sure if that is the case here with Uchida.


I understand the use of "Sir" or "Dame" is a personal choice if you have a KBE/DBE/KB, unless one is given an Honorary Knighthood or Damehood, which is usually dished out to foreigners, who are not entitled to use the sir/dame bit. I do not believe this is the case with either Uchida or with Pappano, as both are naturalised Brits, so they could if they wanted to. I am not sure what, for example Andras Schiff does (Hungarian by birth, now has British Citizenship) Furthermore, I believe that if you get an honorary knighthood and then later become a British Subject, you can actually start using the Sir bit then!

There you go! A half- baked answer six months late! And I am sure somebody will correct me in the meantime....


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## jegreenwood

I started with Fleisher/Szell and I'm sticking with it.


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## Guest

Recently listened to Kempff (both versions) and Schiff (Haitink) in the 5th Concerto. The former was perfection, the latter an abomination.


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## Rogerx

Just buy the Perahia set, good playing, one can never get it wrong with this.


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## KenOC

There are plenty of good Beethoven piano concerto cycles. It's easier to find a good one than a bad one.


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## Rogerx

KenOC said:


> There are plenty of good Beethoven piano concerto cycles. It's easier to find a good one than a bad one.


Even better answer.


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## CnC Bartok

Rogerx said:


> Even better answer.


It is indeed a perfectly good and reasonable answer. I suppose I have about a dozen sets, plus some excellent individual concerto recordings, and I think I have only one set that doesn't really appeal that much. And indeed one of the top-drawer ones has to be the Perahia/Haitink combination, which brings much of the same elegance and civilisation that pianist brought to the Mozart concertos not long before recording these.

The set I really don't think much of is the earlier, cobbled-together set with Maurizio Pollini on DGG, conducted by either Karl Bohm of Eugen Jochum. The pianist doesn't seem that well integrated with either accompanist to my ears. Surprising, that could have been a hit, ends up being a bit of a dud. I don't know if his later set with Abbado is better, I never bothered to find out.

While not a favourite (as I have mentioned before, my top sets are John Lill, Rudolf Serkin, Stephen Kovacevich, and a newer fondness for Paul Lewis - the chap who never smiles on his CD covers), I have always had a soft spot for the Melvyn Tan set with Norrington. I am sure that will release howls of derision, and there is a severe absence of the grandiose or of gravitas in these; but nevertheless I found his recordings of the Fourth - my favourite - and the Choral Fantasia, remarkably moving, and all on a plinky-plonk fortepiano!


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## Rogerx

> I have always had a soft spot for the Melvyn Tan set with Norrington.


I've seen him recording them at July 1988 / No.1 Studio, Abbey Road, London. A friend of mine was label manger at EMI and he had invite some great retail stores Staff members to visit that venue. We saw about four sessions, had lunch with Tan and Norrington , Tan even played a piano sonata for us all. EMI did well in those days.
By the way: this is my guilty pleasure .
Pompous/ loud/ name , it has it.


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## Manxfeeder

Rogerx said:


> I've seen him recording them at July 1988 / No.1 Studio, Abbey Road, London. A friend of mine was label manger at EMI and he had invite some great retail stores Staff members to visit that venue. We saw about four sessions, had lunch with Tan and Norrington , Tan even played a piano sonata for us all. EMI did well in those days.


No kidding? Melvyn Tan is about the only fortepiano player that I can handle listening to. I don't know how he does it, but I can sit through all the Beethoven concertos without really noticing that he's playing one of those things.


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## millionrainbows

I imprinted on Gulda on London vinyl, so I got it on CD first. Later, Gould, Serkin, and Aimard/Harnoncourt, which I keep going back to...


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## Judith

Stephen Hough is in process of recording Beethoven set and I can't wait for it to be released. He never lets me down


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## Guest

jegreenwood said:


> I started with Fleisher/Szell and I'm sticking with it.


Great one to stick with!


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## Becca

CnC Bartok said:


> I understand the use of "Sir" or "Dame" is a personal choice if you have a KBE/DBE/KB, unless one is given an Honorary Knighthood or Damehood, which is usually dished out to foreigners, who are not entitled to use the sir/dame bit. I do not believe this is the case with either Uchida or with *Pappano, as both are naturalised Brits*, so they could if they wanted to. I am not sure what, for example Andras Schiff does (Hungarian by birth, now has British Citizenship) Furthermore, I believe that if you get an honorary knighthood and then later become a British Subject, you can actually start using the Sir bit then!
> 
> There you go! A half- baked answer six months late! *And I am sure somebody will correct me in the meantime...*.


Correction: Pappano was born in Epping. In so far as I am aware, those born in Essex are de-facto Brits. My only quibble is that his parents could have had the good sense to move to Lancashire


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## DavidA

Phil loves classical said:


> Kempff's first cycle on DG mono.


Very fine indeed


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## DavidA

Of the sets I have:

Kempff 1 / van Kempen

Kempff 2 / Leiter

Fleischer / Szell

Serkin

Ashkenazy / Solti

Kovacevich / Davis

Perahia / Haitinck

Gould / etc

They have all a lot to be said for them


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## Rogerx

Manxfeeder said:


> No kidding? Melvyn Tan is about the only fortepiano player that I can handle listening to. I don't know how he does it, but I can sit through all the Beethoven concertos without really noticing that he's playing one of those things.


No, it's true, as soon I find someone with a scanner I post the pictures.


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## CnC Bartok

Becca said:


> Correction: Pappano was born in Epping. In so far as I am aware, those born in Essex are de-facto Brits. My only quibble is that his parents could have had the good sense to move to Lancashire


With apologies for starting to sound like a certain nigel farage (to whom I will not afford capital letters in his name) one is a de-facto Brit if born in the UK - and despite the misgivings of thousands, Essex was then, and indeed does remain part of the UK at this point in time - but only if at least one of your parents is British or has settled status. Pappano's parents could well not have had that, and according to Wikipedia, they only came over the year before he was born. Means we can probably extradite them now - send 'em back to Bongo-Bongo land and get back to the blitz spirit and the Empire, that idyllic time of cameraderie, ration books and no swarthy faces on the streets of London.....:angel:

Maybe they'd be safer on the wrong side of the Pennines?


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## 444mil

he rushes everything


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## Mandryka

444mil said:


> he rushes everything


Like Solti?

wfchwsalvfcnjwsal,kvfcewsvfnh


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## 444mil

Mandryka said:


> Like Solti?
> 
> wfchwsalvfcnjwsal,kvfcewsvfnh


i forgot to quote the guy who called for hough


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## Joachim Raff

This is my favourite cycle. It has buckets full of colour and character. What's impressive, Krips treats all the Piano Concertos with the same vigour and respect. No duds at all. A fantastic consistent cycle that makes you smile form beginning to end.


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## DavidA

Manxfeeder said:


> No kidding? Melvyn Tan is about the only fortepiano player that I can handle listening to. I don't know how he does it, but I can sit through all the Beethoven concertos without really noticing that he's playing one of those things.


I'm afraid I cannot listen to Beethoven on a fortepiano. The writing seems to transcend the instrument


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## Gabriel Lacombe

It's really impossible to ignore Fleisher / Szell.
But I think Emil Gilels with Kurt Masur and the Russian State Symphony Orchestra is amazing. Gilels with Leopold Ludwig and the Philarmonia are great too.
The 4th concerto with Uchida / Sanderling / Concertgebouw is great, very dramatic. I didn't listen yet other Uchida recordings of the concertos.
The complete set with Ashkenazy / Solti / Chicago Symphony is flawless, I think. Good price bargain, and strong and exuberant, like the Fleisher / Szell and the Weissenberg / Karajan sets.


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## Musicaterina

This is in my opinon a good recording of the 5th piano concerto ("Emperor") by Ludwig van Beethoven

played by Maurizio Pollini and the Orquesta Sinfónica de Galicia conducted by Daniele Pollini (son of Maurizio Pollini)


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