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2 of 2 found the following review helpful:
love Entremont Aug 08, 2007
I have to say I absolutely love Entremont, though at first he took some time for me to get used to. He pounds it out, yet he has a great sense of the melody and sensitivity to the dynamics. He can be surprisingly quiet with just the right touch after all the slam-dunk. He can be fast, but he has restraint-not too flashy where he loses substance. He also doesn't get too loud to show off, he pulls back in the nick of time. I like his powerful, restrained drama. I get the feeling that he loves the melodic line. He really subdues other parts of a piece to make the accents on the melody shine. This gives things a dance-like flowing quality. Yet, the underlying runs are played very precisely, he makes each note count individually. To me, he is a player who is deeply concerned about multiple levels of the composition. He has overall scope and precise detail. I get the feeling that he analysis the pieces from a theory standpoint and has a very high regard for the composers and their art.
5 of 7 found the following review helpful:
pure elegance Jan 17, 2006
Pure elegance Yes, this music can be compared to Rachmaninoff pianoconcerto 1 and 4. Of that record I own an EMI registration from Mariss Jansons and St Petersburg Philharmonic and Mikhail Rudy. Very much tension and intense music. Elegance simply everywhere.
2 of 4 found the following review helpful:
Grieg y Schumann mejor imposible Sep 15, 2004
La introducción del primer movimiento del concierto para piano de Grieg es una clara señal de lo que este CD nos entregara, es soberbio de principio a fin, Entremont lo hace denuevo es totalmente genial, es una esplendida interpretación que le erizara la piel, este concierto en si es una maravilla, una introducción que junto con la del 1º concierto para piano de Tchaikovsky son para no olvidar, un tema musical inusitado, extenuante, energizante, supremo. Ormandy hace su trabajo a la perfección y la orquesta de Filadelfia suena a plenitud, vibrante, riquisima, es un concierto de concierto, no puede un amante de la música quedar fuera, es inevitable tener que apreciarlo y atesorarlo, simplemente grandioso.
El concierto de Schumann es mas simple en estructura, pero para los oídos, para los que adoran la música es de una belleza enternecedora, magnifico, claro, sutil, hermoso. Rudolf Serkin se hace cargo de este concierto y logra a plenitud todos los objetivos musicales que se propone, se desliza en el piano dando lo mejor de si en beneficio del auditor, es sublime y electrizante. Serkin tambien tiene a su cargo otra obra de Schumann, ahora es el turno de Introducción & allegro apassionato, menos sútil que el concierto es una obra llena de fuerza, de vigor y por cierto de gracia y alegría. Es un final fastuoso en música, pero nada pomposo para los oídos.
Ormandy y la orquesta de Filadelfia logran como siempre hacer que el solista resalte y la música sobresalga más aún.
22 of 23 found the following review helpful:
Great Grieg, Stunning Schumann Mar 30, 2003
In the 1950s and 60s, CBS/Columbia (now Sony Classical) had the great fortune to have three of America's best orchestras and their conductors on its recording roster -- Leonard Bernstein and the New York Philharmonic, Eugene Ormandy and the Philadelphia Orchestra, and George Szell and the Cleveland Orchestra. Nearly a half-century later, only Leonard Bernstein remains a name that even the non-classical music world knows well. But in the world of the compact disc, this is a wonderful thing, because while Leonard Bernstein analog stereo recordings sell at mid-price, classic performances by Ormandy and Szell are regulated to the budget line. Well, my friends there is justice in the world because the vast majority of these "budget line" recordings are simply amazing. This particular disc features Ormandy and the Philadelphians with the great pianists Philippe Entremont on the Grieg Piano Concerto, and Rudolf Serkin on Schumann's Piano Concerto and Konzertstuck. The Grieg/Schumann coupling is a frequent one -- both composers only wrote one concerto for the instrument, they are both from the romantic period, and mostly both concertos are written in A Minor. There are many great recordings out there -- Kovacevich/Davis, Lupu/Previn, Perahia/Davis, Rubinstein, even classic mono performances by Lipatti and Michelangeli -- but they are all midline, and even without price as a factor this would be my first choice. Enjoy!
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