Leif Ove Andsnes, piano
Bergen Philharmonic Orchestra, Dmitri Kitayenko
1991. Virgin Classics VC 7 91198-2 full price
Featured
A r t i s t
Leif
Ove Andsnes, born in 1970 on Karmøy in western Norway, enjoys the
position as one of the greatest musicians of his
generation
in his native country. He entered the Bergen Music Conservatory in 1986,
where he studied under Jiri Hlinka, and has through the past decade gradually
fortified his position among the firsts of pianists.
Andsnes has since his debut, appeared with several of the worlds principal orchestras, such as the Berliner Philharmoniker, the Boston Symphony, the City of Birmingham Symphony Orchestra, the Cleveland Orchestra, the Philharmonia, and the Oslo Philarmonic Orchestra. He also enjoys a reputation as an outstanding recitalist, and has appeared at the most prestigious musical centras in London, Vienna, Berlin, Amsterdam, New York, etc.
Leif
Ove Andsnes has recieved numerous awards, including the Hindemith prize
(Frankfurt 87), the Grieg prize
(Bergen
90) and a Dorothy B. Chandler Performing Arts Award in 1992. In 1997 he
was awarded the Gilmore prize
(USA).
He has twice recieved the prestigious Deutschen Schallplattenkritikprice:The
first for his Janácek disc, the second for his Schumann disc, for
which he also recieved a Grammy-nomination.
He has quite recently released a recording of Brahms' first pianoconcerto, with the City of Birmingham SO and Simon Rattle, coupled with the composer's Intermezzi op.117.
E.
Grieg/F. Liszt: Pianoconcerto in a-minor, 6 Lyric
pieces, Pianoconcerto no.2
Leif Ove Andsnes, piano
Bergen Philharmonic Orchestra, Dmitri Kitayenko
1991. Virgin Classics VC 7 91198-2 full price
This
recording of Grieg's a-minor concerto will, I belive always stand as a
reference for me. Great interpreters such as Stephen Kovacevich, Murray
Perahia and more recently Lars Vogt have all produced fine accounts of
the work.However, and I know that many will disagree with me in this, I
still think Andsnes is ahead with his radiance and crystalclear tone, and
his everpresent concern for the longer lines, structuring the movements.
The
Liszt concerto, is perhaps less sastisfying, although I find the introvert
approach to this "extravert" piece fascinating. The warmth and the careful
painting out of tonal nuances makes the work stand out in a new and not
uninteresting robe. Compared , however, to Krystian
Zimerman's fiery recording with the Boston Symphony it falls somewhat
short.
When it comes to Grieg's
lyric pieces for piano, few pianists are more confident, and more at home
than the young Norwegian. The tonal glow and suppleness of his touch, make
Grieg's jewells shine and sparkle. Gilels' seminal recording on Deutsche
Grammophon still stands unrivalled, but Andsnes' is a laudable alternative.
This is a record I most
wholeheartedly recommend.
Leos
Janácek: Pianosonata I.X.1905, In the Mists,
On the Overgrown Path: Series 1.
Leif Ove Andsnes, piano
1991. Virgin Classics VC 7 91222-2 full price
One
of Leif Ove Andsnes' hallmarks have been, and will hopefully continiue
to be, enlightening approaches to repertoire on the edge of the mainroads
of classical music. The works for solopiano by Czech composer Leos Janácek,
is a outstanding example of the pianist's concern for such compositions.
Andsnes' everpresent clarity of touch, brings these pieces almost too close
to the listener, and no tonal nuace is left without the utmost care. The
concern for detail and at the same time the whole of the work forms a remarkable
synthesis, most revealing and touching. For those of you who, like me,
saw and loved Philip Kaufmann's film "The Unbearable Lightness of Being"
(From Milan Kundera's novel)will remeber the wonderful music. Here it is
again, treated with unmatched delicacy and insight. An alternative recording
could be Rudolf Firkusny's now on Deutsche Grammophon's Originals series.
This
is the recording that really opened up Janácek for me. The day I
hear his works for piano being played with such clarity and lyric intensity
again, will truly be a happy
one.
F.
Chopin:
The Pianosonatas (1-3), 4 Mazurkas, op.17, Etudes, op.25, nos. 3,4,10,11,
op.10, no.6
Leif Ove Andsnes, piano
1992. Virgin Classics VCK 7 91501-2
full price
This is a fine recording of the Chopin pianosonatas, Mazurkas and Etudes, however it is nowhere near the Janácek disc, when it comes to penetrating the music.Andsnes' project seems to be that of a archeologist carefully excavating tonal colours and nuances.The recording is well worth listening to, but the competition is formidable. Pollini's razorsharp brilliance, Argerich's fire and weight, or Idil Biret's sonorous and wonderful approach (Naxos), keep this disc well away from the top spot.
E.
Grieg: Pianosonata, Lyric pieces, opp. 43 &
54, Agitato, etc.
Leif Ove Andsnes, piano
1993. Virgin Classics VC 7 59300 2
full price
I
must shamefully admit that I haven't heard this recording. But if I was
to judge by his other interpretations of Grieg's music for piano, it should
be worth while, by a safe
margin. Another tip when it comes to Grieg's Lyric pieces is of course
Emil Gilels' legendary recording on Deutsche Grammophon.(Now on medium
price in "the Originals"
series).
S.
Rachmaninov: Pianoconcerto no.3, op.30, 5 Etudes-tableaux
Leif Ove Andsnes, piano
Oslo Philharmonic Orchestra, Paavo Berglund
1995. Virgin Classics VC 5 45173 2 / EMI Classics CDC 556350 2
full price
This
concerto hardly needs any further presentation after "Shine" came along
and made the Rach 3 a householdname. For those who really enjoy the music
for what it is,
let it be said: This recording is in an entirely different league than
Helfgott's. Andsnes' approach to the work is an admireable one, however
he never quite posesses the
authority and boldness that is required to successfully present the dynamic
force of this colossus. By all means this is a good recording, but if you
listen to Martha
Argerich's
unique account of it on Philips, you'll understand what I mean.
The Etudes-Tableaux
are more in Andsnes' path, I believe. Anyway being the explorer he is,
he renders this rich and sonorous music brilliantly. But again I would
suggest Turkish pianist Idil Biret (Naxos) as a recommendable alternative.
Hers is a complete recording of both works (Etudes-Tableaux opp. 33 &
39).
Carl
Nielsen: Chaconne, Suite "Den Luciferiske", Three
pianopieces, Five pianopieces,Humoreske-bagateller
Leif Ove Andsnes, piano
1996. Virgin Classics VC 5 45129 2
full price
This recording is one I have problems expressing my admiration for.It bears many of the features that distinguishes the Janacek recital, and is in my opinion the only of Andsnes' recordings that can match it. His approach to the Chaconne is a highlight in its almost unbearable clarity and vision. I get the feeling of standing on the edge stareing into a suddenly lit abyss. Leif Ove Andsnes shows an understanding of Nielsen and his music, that I haven't heard anywhere else, partly of course due to the regrettable neglect of the composers "smaller" works. Nevertheless, this is one of those instances where you just know that this is how the music must sound. This is expression stripped of all skin: Raw yet tender and beautiful, direct and intense. It may sound strange but it reminds me a little bit of Mitsuko Uchida's 1997 recording of the Schubert impromptus. The Music is divided by an era, the interpretations aren't.
R.
Schumann: Pianosonata no.1, op.11, Fantasie in
C-major, op.17
Leif Ove Andsnes, piano
1997. EMI Classics CDC 5 56414 2
full price
Again
I find myself amazed by this young pianist. This time he has coupled Schumann's
Fantasie with the first Pianosonata. I saw one critic making a comparison
between Andsnes
and Richter, in their emphasis on the long lines of the music, the scope,
their vision (to continiue this wallowing in clichées). However
there is some
truth
in this. Andsnes' view is broader than that of most others. An example
is Murray Perahia's recording of the same sonata, also released in 1997
(Sony Classical). Perahia's
interpretation is deeply personal and bold, but it lacks the scope and
vision of the work as a whole, that is so typical for Andsnes. It should
be mentioned that Perahia's
coupling of the sonata with "Kreisleriana" is certainly worth while. His
account of the latter work ranks among the finest, such as that of Argerich
and Horowitz.
As for the great Fantasie,
my first choice is still Pollini, but I wouldn't want to be without Andsnes'
account of it for anything in the world.
Edvard
Grieg, Geirr Tveitt, David Monrad Johansen, Fartein Valen, Harald Saeverud:
Den långje långje vettranåttæ
(The
long, long winternight)
Leif Ove Andsnes, piano
1998. EMI Classics CDC 5 56542 2
full price
This
disc is a compilation of piano-miniatures from these five Norwegian composers.
I think it is wonderful that these gemstones now are available for an audience
outside of Scandinavia.
The composers differ from one another, yet at the same time they are bound
together by their musical roots in Norwegian folkmusic. For those
of you who like,
for instance Federico
Mompou, listen to Geirr Tveitt's "Velkomne med æra" (Welcome
with honor). Catalan or Norwegian, both composers' condensed and lyrical
music posesses the
same out-of-this-worldly beauty. Andsnes
really is on homeground here. His careful and tender, yet direct approach
lets the miniatures shine in all their quiet glory. I must also recommend
another disc released
last fall, with Håvard Gimse playing Geirr Tveitt (Naxos in Scandinavia
and apparently Marco Polo in the U.K.). Another delightful disc, although
Gimse's touch
can't quite compare in nuance with Andsnes.
Leif Ove Andsnes has also released a recording with Lars Anders Tomter, with the music for viola and piano by Brahms and Schumann (Virgin). A disc with Cristian Tetzlaff, playing the violinsonatas by Janácek, Debussy, Ravel and Nielsen (Virgin).And a recording of Prokofiev's third pianoconcerto with Bergen PO (Simax).
He has also recently (November 98) released a recording of Brahms' Pianoconcerto no.1 with the City of Birmingham Symphony Orchestra and Simon Rattle. The concerto is coupled with the composer's Intermezzi op. 117.(EMI)
© 1998 arne.mork@yahoo.com
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