Recordings of Beethoven's Triple Concerto, Op. 56, by a piano trio rather than by a group of virtuosi (a configuration that almost always misunderstands the work) are not abundant. Still rarer are those like the present release by the Storioni Trio, a Dutch group that takes its name from the maker of the 1790s instrument played by the violinist (and strung, like the viola, with gut strings). Pianist Bart van de Roer plays an 1815 Lagasse fortepiano. This recording is part of a series devoted to Beethoven's piano trios, but the Triple Concerto actually is more comfortable in those surroundings than when forced to keep company with the likes of the Violin Concerto in D major, Op. 61.
Thirty years on, renowned Beethoven specialist, Rudolf Buchbinder presents his second complete cycle of Beethoven's piano sonatas, this time recorded live at Dresden's Semperoper. Beethoven and Buchbinder is an event like Bach and Glenn Gould, like Johann Strauss and The Vienna Philharmonic. Says Buchbinder, "I have been able to discover a different Beethoven, richer and more multi-layered. It is Beethoven himself who demands this freedom from his interpreter."
The Beethoven set includes the first two piano concertos (No. 1 in two versions, one with cadenzas supplied by Glenn Gould) together with Beethoven’s only completed opera in its final version: Fidelio. He always had a strong and fervent view of freedom and its resonance still rings true today nearly two hundred years since its first performance.
Glenn Gould and Leonard Bernstein bring an attractive regal pomp and broad rhetoric to the Third Concerto, yet these qualities work to the more lyrical Fourth's disadvantage. Gould's well-oiled fingers zip rather mechanically through the outer movements in the first two concertos, and he scrutinizes the Emperor with the inquiring mind of a brilliant crank.