Composer: Edvard Grieg, Robert Schumann, Franz Liszt, Johannes Brahms, Joseph Haydn, Carl Nielsen, Geirr Tveitt, David Monrad Johansen, Harald Saeverud, Leoš Janáček, Dmitri Shostakovich
Works: Piano Concerto in A Minor, Lyric Pieces: Op. 43, Nos. 1 and 6, Op. 65, No. 6, Fantasie, Op. 17, Mephisto Waltz No. 1, Intermezzo Op. 117, No. 2, Piano Concerto in D Major, Hob. XVIII:11, Piano Sonata, Hob. XVI:32 (II and III), Humoreske-Bagateller, Op. 11, Fifty Folk Tunes from Hardanger, Op. 150, Nos. 3, 27 and 37, Pictures from Nordland: Suite No. 1, Op. 5 (II, III, IV), Tunes and Dances from “Siljustad”, Op. 22, No. 5, Sonata I.X. 1905 (Z Ulice), Concerto for Piano, Trumpet and Strings, Op. 35
Performers: Leif Ove Andsnes (piano), Bergen Philharmonic Orchestra – Dmitri Kitayenko (Grieg), Norwegian Chamber Orchestra – Leif Ove Andsnes (Haydn), Håkan Hardenberger (trumpet), City of Birmingham Symphony Orchestra – Paavo Järvi
Recording: Various dates, from 1990 to 2000, including sessions at Grieghallen, St. George’s Hall, Abbey Road, and Symphony Hall, Birmingham
Label: EMI
Leif Ove Andsnes has firmly established himself as a significant interpreter of the piano repertoire, and this double album, “A Portrait,” serves as a compelling showcase of his artistry through a selection of works that traverse the Romantic era and beyond. With compositions ranging from Grieg’s iconic Piano Concerto to the intricate textures of Janáček and the modernism of Shostakovich, the album not only highlights Andsnes’s technical prowess but also his interpretative depth, positioning him as a vital figure in contemporary classical music.
The album opens with Grieg’s ever-popular Piano Concerto in A Minor, a piece steeped in Norwegian folk traditions yet underscored by Romantic longing. Andsnes’s interpretation is marked by a delicate balance of power and lyricism. The Bergen Philharmonic, under Dmitri Kitayenko, provides a lush backdrop, emphasizing the concerto’s dramatic contrasts. Andsnes’s piano tone is rich and resonant, particularly in the opening Allegro moderato, where he deftly navigates the lyrical themes while maintaining clarity in the intricate passages. His performance, though perhaps not as flamboyant as some of his predecessors like Kovacevich or Perahia, possesses a sincerity that speaks volumes of his grasp on the music’s emotional undercurrents.
Transitioning to Schumann’s Fantasie, Op. 17, Andsnes reveals his ability to convey the composer’s turbulent emotional landscape. The Langsam getragen movement, in particular, benefits from his meticulous phrasing and nuanced dynamics. The recording captures the intimate atmosphere perfectly; the microphones seem to enhance the quiet whispers of the piano, allowing the listener to feel the weight of each note. This kind of attention to detail is evident throughout the album, as Andsnes consistently employs subtle rubato and expressive pedaling to breathe life into the music.
Liszt’s Mephisto Waltz No. 1 presents a different challenge, demanding not only technical agility but also interpretative flair. Andsnes rises to the occasion, delivering a performance that is both electrifying and thoughtful. He manages to balance the piece’s virtuosic demands with a sense of narrative, drawing the listener into the devilish charm of Liszt’s creation. The recording’s engineering shines here, capturing the full spectrum of Andsnes’s dynamic range without distortion, showcasing the work’s inherent drama.
In contrast, the works of Scandinavian composers, such as Tveitt and Saeverud, offer a refreshing perspective that highlights Andsnes’s roots. The short pieces included here, while not necessarily groundbreaking, provide a delightful interlude, revealing a rich tapestry of folk influences and evoking a pastoral serenity. The engineering remains consistent, with each track benefiting from a clarity that allows for the appreciation of these lesser-known gems.
The album’s latter half features the Haydn D Major Concerto and Shostakovich’s First Piano Concerto, both played with an infectious energy. Andsnes’s partnership with Håkan Hardenberger in the Shostakovich is particularly noteworthy; their rapport is palpable, and the interplay between piano and trumpet is executed with precision and flair. Paavo Järvi’s direction with the City of Birmingham Symphony Orchestra complements their performance beautifully, resulting in a cohesive sound that enhances the concerto’s playful yet sinister character.
This collection, spanning a diverse array of composers and styles, not only exemplifies Leif Ove Andsnes’s formidable talent but also serves as a reminder of the rich and varied landscape of piano literature. Each work is crafted with care, showcasing Andsnes’s ability to illuminate the nuances of both well-trodden classics and obscure treasures. EMI’s recording quality allows for an immersive listening experience, with every whisper and crescendo captured in striking detail.
Andsnes may not yet occupy the superstar status that his artistry warrants, but this album is a compelling testament to his contributions to the piano repertoire, ensuring that his name will resonate with discerning listeners for years to come.
