Beethoven: Triple Concerto, Septet

Beethoven's Triple Concerto works best when played like a svelte, bubbly concerto grosso rather than middle-period Beethoven pretending to be Elgar. For that to happen, you need a firm, decisive podium master who keeps everything clear and moving ahead. And you need three virtuoso soloists with rhythmic élan, beautiful tone, and radar-like ensemble sensitivity.

Enter Zinman, Bronfman, Shaham, Mørk, and Zurich. No, that's not a law office, but rather the musician participants, who embody all the aforementioned criteria and come up with the best-integrated, least-platitudinous, most consistently characterized and caringly detailed Beethoven Triple Concerto ever committed to disc.

The opening ritornello's eloquent section work, lively rhythmic inflections, and snarling brass sonorities probably sound better than anything Beethoven expected, while violinist Gil Shaham and cellist Truls Mørk seamlessly yet passionately merge to the point where it's hard to tell who's playing what in common registers. And pianist Yefim Bronfman builds upon the stylish flair and sensitivity he brilliantly displayed in his previous Beethoven collaborations with Zinman (the Third and Fourth concertos). By virtue of the superb engineering, the balance between soloists and orchestra emerges in perfect perspective.

The Septet, one of Beethoven's least favorite yet most tuneful and unpretentious creations, often is played without a conductor, and in truth it really doesn't need one--yet Zinman's presence makes itself felt. Notice, for example, the increased tension as a result of the first-movement slow introduction's minute tempo adjustments and pungent accents, or hear the Minuetto's excitingly contoured inner lines, or the textural interplay in the Finale that makes the excellent (albeit conductorless) Academy of St. Martin in the Fields sound generalized by comparison. Even if this budget-priced disc were listed at five times the cost, it would be a bargain. [4/21/2006]
--Jed Distler, ClassicsToday.com

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