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Har lyttet til flere. God kvalitet og spennende live-overføringer. Den 15 februar blir Leif Ove Andsnes fremføring av Brahms 2. pianokonsert tilgjengelig. Denne fikk helt ville anmeldelser i bl.a. NYTimes, og er garantert noe å glede seg til.


I denne ukens online download kan man lytte til følgende:
Ibert: Hommage à Mozart
Ravel: Piano Concerto in G (Hélène Grimaud)
Shostakovich: Symphony No. 4

Men husk Andsnes konsert - først tilgjengelig fra 15. februar - MEN KUN I EN UKE!. Det snakkes allerede om at denne skal gjøres tilgjengelig på CD.

Fra NYTimes anmeldelse:

But another chemically charged relationship was introduced on this occasion. The pianist Leif Ove Andsnes was the soloist in a vibrant, brilliant performance of Brahms’s Piano Concerto No. 2 in B flat. This was the first time this youthful Norwegian pianist and this veteran Italian maestro had worked together, and they seemed inspired by each other’s artistry.

This imposing 45-minute, four-movement concerto, a relatively new work for Mr. Andsnes, is typically milked for all its might. In Sviatoslav Richter’s classic 1960 recording with the Chicago Symphony Orchestra and Erich Leinsdorf, the work emerges as dense, volatile and terrifying. Most pianists consider the piano part among the hardest in the standard repertory: thick with leaping chords, awkward runs and almost impossible scurrying figurations in double thirds.

Yet Brahms began sketching the piece while on vacation in sunny Italy in 1878. For all its storm and stress, he considered it a far more genial, pastoral and, in the finale, joyous piece than his turbulent First Concerto in D minor.

Mr. Andsnes, an Apollonian pianist, brought out what could be considered the score’s Italianate qualities. He could not have had a better ally in this than Mr. Muti. They set a tempo in the first movement that kept the music flowing but allowed room for lyrical grace. When Mr. Andsnes broke into the tempestuous cadenza right after the first serene statement of the main theme by the French horn, every note mattered. The playing was clear, crisp, incisive, yet never aggressive.

In passages where Mr. Andsnes could highlight the lyricism of the music, he did so, supported by Mr. Muti. But when things turned agitated, as in the outburst of pummeling 16th-note piano chords in a furious F minor episode, Mr. Andsnes played with uncanny clarity and nimble articulation. Most pianists strive for sheer, driving power. The excitement here came from athletic vigor and accuracy.

The performance of the Scherzo conveyed the music’s shifting moods, from passionate stirrings to lyrical pathos. Yet the pianist and the conductor kept the music surging in a coolly steady tempo. Textures were lucid; syncopated rhythms were true. In the Andante the Philharmonic’s principal cellist, Carter Brey, played the solo theme with wistful, flowing beauty, never allowing the music to dawdle or turn sentimental.

In the dreamy development section when the piano leads the orchestra on a pensive journey through remote harmonic regions, Mr. Andsnes brought Impressionistic colorings and rare delicacy to the music. The pianist and the conductor found an impish spirit in the pugnacious surprises that keep cropping up.

Many pianists make a point of showing what a struggle it takes to perform this work. Mr. Andsnes played the piece while seated calmly, never bothering to unbutton his stylish suit jacket.
Topp Bunn