BEETHOVEN PIANO CONCERTOS NOS. 3 & 4 – VASILY PETRENKO & BORIS GILTBURG

In this latest release featuring Boris Giltburg on piano alongside the Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko, the spotlight is undeniably on Giltburg’s unique interpretation of Ludwig van Beethoven’s Piano Concertos. While the recording showcases exquisite playing and a deeply Romantic approach, it grapples with the challenge of recorded balance, particularly in Beethoven’s Third Piano Concerto.

The album opens with Beethoven’s Third Piano Concerto, and immediately, the crisp and lean introduction by Petrenko and the RLPO sets the stage. Giltburg’s performance shines with a sonorous, bell-like tone that’s so closely recorded it sometimes tips the balance, giving the impression of a star soloist against a backdrop of orchestral accompaniment. This approach carries the risk of overshadowing the orchestral contribution and transforming the concerto’s atmosphere into a piano-centric experience. Giltburg’s rendition of the Largo is sensitive and immediate, yet its sonic richness occasionally veers towards self-indulgence.

Giltburg’s artistic voice, characterized by its poetic qualities, is evident throughout this album. Drawing comparisons to a Keatsian approach rather than a Drydenian one, he skillfully emphasizes the Romantic elements embedded within Beethoven’s music. However, at times, this approach leads to a minor concern of self-regard, wherein the piano becomes so thunderous that the authenticity of a live concert experience is somewhat lost.

The Fourth Piano Concerto takes a step forward in terms of balance between the orchestra and soloist, possibly due to the three-year gap between the recording sessions. Giltburg’s performance aligns more harmoniously with the 19th-century sensibilities that define the piece. His deft use of rubato and his rich sonority find a suitable home in this concerto, where the music yearns for a more Romantic interpretation. The Fourth Concerto showcases Giltburg’s virtuosity through impressive trills and runs, although some listeners might find the piano’s clangorous and overbearing tone to be a slight drawback.

The recording’s engineering becomes a central issue that occasionally overshadows the artistic intentions. In an era where recording quality is often excellent, this release stands as an exception, occasionally detracting from the overall experience. However, it’s worth noting that this factor does not diminish Giltburg’s expressive manner and his unique interpretation of Beethoven’s works.

In conclusion, Boris Giltburg’s exploration of Beethoven’s Third and Fourth Piano Concertos on this album offers a distinctive perspective that leans toward Romanticism, captivating listeners with his sonorous playing and poetic approach. While the recorded balance and engineering nuances might present challenges, Giltburg’s interpretation remains a focal point, making this release a notable addition to the world of Beethoven interpretations. Whether you’re a staunch admirer of the Third Concerto or hold a preference for the Fourth, Giltburg’s expressive renditions will undoubtedly leave an indelible mark on your Beethoven journey.