Once again, dear friends, we come back to Beethoven Piano Concertos. No wonder, as such genius-filled masterpieces speak differently each day and even more so at different age. Even more so as all the pianists that reached the climax of their artistic power try to penetrate the world of these masterpieces and bring Beethoven's soul to light.
In the continous wondering through archives of recorded music I came across two complete cycles from two living giants of our time: Murray Perahia and Alfred Brendel. The temptation was to great to put these two head to head as a couple of very interesting differences emerge at a closer look. Murray Perahia is at full maturity and comes with an impecable record of recording classics (his Mozart cycle is a landmark). Alfred Brendel is enjoying a glorious sunset and has all the insight and experience that only a full and accomplished life can give you. Perahia's is his first take on these magnificent works, while Brendel is at his third, the one of full maturity.
My intention is not to make an anatomical dissection of each concert. Instead I would like to share with you the overall "feeling" of each set and try to grasp the untouchables that make them so unique in themselves and so different from each other. The first thing you notice is the compeltely different setup that each conductor creates for their soloists. On one side you have Haitink, with a long history of great cycles on his portfolio (the great one with Claudio Arrau should be in every collection), creates a roman cathedral of sound (Hegel said beautifully and extremely inspired that architecture is frozen music) classic to the bones and with a cold crisp mind that doesn't allow any emotional getaway. On the other side is Rattle, that finds spirit and emotion in every bar and allows music to sing of human experiences in the most profound and "classical" way. It's like building musically Sagrada Familia withholding nothing back. With great orchestras to match their impeccable conception (Royal Concertgebouw and Wiener Philharmoniker respectively) the stage is set for the full manifestation of their soloists creative prowess.
A magnificent tour the force on both sides they couldn't be more different nor more true to Beethoven's music. Perahia is displaying in perfect technique all the lines and reliefs of Beethoven's music. Everything is in right place perfectly finished and leaving no room for improvement. And while building like a great master mason of ancient times he manages to bring forth with utter power of conviction all the inner humanity that Beethoven engraved in his music. A mastery achievement I hope you agree with me. And when you think that nothing else can be said in every concert along comes Brendel's mind blowing account of these works. He starts from the other end. He puts together every bit of human emotion and piece of mind building, at times with spine chilling freedom of creation, an entire world that makes sense and is so soul searching. he's life work with these masterpieces gives the liberty to nuance to molecular levels every musical idea in the all so clear construction that takes form under your amazed eyes as music unfolds. In the end you have the same intense feeling of Beethoven being in the same room with you. Almost the same effect in both cycles but with such a different approach.
It is so conforting to have the mature and complete version of the conception of two great musicians at the end of their carrers, Haitink in one set and Brendel in the other. It is equally conforting to know that this great music will have more to say in the future in the hands of Perahia and Rattle, as I am pretty sure that they will come back to these works again.
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