Quirky is a word that might be applied to these performances of Beethoven's first two piano concertos -- which isn't necessarily a bad thing, for they're quirky works. Moreover, the concertos are more quirky than rebellious, especially the Piano Concerto No. 2 in B flat major, and the tendency these days is to treat the young Beethoven as a rebel. Nevertheless, potential buyers of this CD should know what they're getting into. Mustonen, playing the piano and conducting the Tapiola Sinfonietta, sculpts a performance that's ...
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Quirky is a word that might be applied to these performances of Beethoven's first two piano concertos -- which isn't necessarily a bad thing, for they're quirky works. Moreover, the concertos are more quirky than rebellious, especially the Piano Concerto No. 2 in B flat major, and the tendency these days is to treat the young Beethoven as a rebel. Nevertheless, potential buyers of this CD should know what they're getting into. Mustonen, playing the piano and conducting the Tapiola Sinfonietta, sculpts a performance that's all his own, with maximal contrast between the piano's and the orchestra's statements of the same material. The orchestra plays the music straight, and even plainly -- the emotional temperature of the entire disc is low, and the music is recorded at quite dynamic levels. Then, when Mustonen enters on piano, things get a little strange. Both finales are full of unorthodox accents, but the special treat, or outrage depending on your perspective, is the finale of the Piano Concerto No....
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