Beethoven Piano Your resource for the piano music of Ludwig van Beethoven

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If Hélène Grimaud hasn't yet appeared on your radar screen of today's outstanding artists, do yourself a favor and get to know the amazing work of this young French pianist. As with her previous releases on Teldec, Grimaud hasn't set out to occupy a specialized niche of repertory. Instead, in knockout recordings of Brahms and Rachmaninoff, Grimaud's been staking out the prime territory. Any initial reservations about such works being over-recorded are quickly dispelled by the unique poetry and power her imagination brings to them, above all in this marvelous live performance of what is probably Beethoven's greatest piano concerto. Entire readings of the Fourth collapse due to misjudgment of its brief but microcosmic opening five bars of solo piano; listen to Grimaud's eloquent articulation of the all-important rhythm, given without intrusively subjective fuss. Her balance of lyricism against energetic momentum sets the stage perfectly for what is to follow. Masur--in almost telepathic sympathy with the soloist--brings a grandly expansive sensibility to the first movement that allows for deliciously precise details from the New York Philharmonic, without losing sight of the music's dramatic thrust. The disc also includes two of the late sonatas; Grimaud understands their complex emotional fabric and brings both clarity and intensity to her articulation. Especially beautiful is the variation movement of Opus 109, sensitively shaped and unencumbered with a dubious "mysticism." No matter how well you know this music, Grimaud is the kind of artist who can make you rethink and--most importantly--feel again what is taken for granted. --Thomas May

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These two CBC television soundtracks are valuable additions to Glenn Gould's discography. His 1970 Emperor concerto, though not without its quirks, boasts an uncluttered directness largely absent from his studio version with Leopold Stokowski. By contrast, Gould puts on his best lily-gilding airs for Strauss's youthful Burleske, a work he never tackled in the studio. Within the limitations of the mono TV source, the sound is more listenable than previous bootleg incarnations of this material. --Jed Distler

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Why this 1968 recording of Sonata No. 24 (Op. 78 in F Sharp) lay dormant until now is a mystery. Gould obviously relishes this little jewel, and plays up the two movement's contrasting qualities with exquisite poise and superb characterization. An unreleased CBC broadcast of the mighty Hammerklavier sonata, on the other hand, is scaled down to drawing-room size. Gould brings out the knotty counterpoint with microscopic clarity, yet ducks from Beethoven's surging dynamism in the outer movements. The Andante Sostenuto is reticent and stark under Gould's introspective hands, touching upon but not yielding to the music's tragic overtones. Not the first choice Hammerklavier for your collection, but Gouldians should hear it. --Jed Distler

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VAI 4388 Mozart: Sonata No. 7 in A minor, K.310, Beethoven: Sonata No. 32 in C minor, Op. 111. Bonus: Arrau interview. Telecast of March 5, 1964, 60 min., B&W, All regions.

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It would be difficult, perhaps impossible, to assemble a better group of musicians to perform Beethoven's Triple Concerto and Choral Fantasy. Daniel Barenboim has been so busy conducting the world's top orchestras and opera companies that there is a danger of forgetting what an excellent pianist he is. He conducts both of these works from the keyboard, as Beethoven would have expected, engaging in chamber music-like dialogue in the concerto and creating a sense of impromptu in the Fantasy's long piano solo, which Beethoven wrote for himself and partly improvised at the first performance. Itzhak Perlman and Yo-Yo Ma are sensitive, alert, and technically superb partners. The music is not Beethoven's most familiar, but it is absolutely charming. The concerto is appealing in its melodic material and the intricate interactions among the soloists and orchestra. The Choral Fantasy features a long piano solo that Beethoven wrote for himself, plus a choral melody that sounds like a preliminary sketch for the last movement of his Ninth Symphony. Both works pose unusual balance challenges, to which Barenboim and the recording engineers rise impressively. --Joe McLellan