Cristofori, Arthur Schoonderwoerd - Beethoven: Concerti 4 & 5 pour le pianoforte avec accompagnement d'orchestre (2004)

A fascinating disc, yet one that for a variety of reasons functions in a rather supplemental fashion. These readings aim to bring authenticity (viewed from a variety of angles) to bear on these familiar scores, presumably intending them to be able to be heard in a new light. Not that ?authentic? performances of Beethoven are too thin on the ground?but such chamber-music forces as these certainly reveal detail in a way rarely encountered.
The notes that accompany this release are commendably detailed, encompassing?among other headings??Vienna under the spell of Napoleon,? ?Erard?s Influence on Viennese piano making,? ?Beethoven and Archduke Rudolph,? and ?Performance Practice Research.? As in the case of Alpha 052 (see review by Peter Rabinowitz in 29:2), there is a long essay analyzing the cover painting (a nice idea) and, again, it is true that the works themselves receive relatively short shrift.
Schoonderwoerd plays on a Viennese pianoforte by Johann Fritz of around 1807?10. The booklet chronicles Beethoven?s initial affection for the Parisian Erard piano eroded somewhat on actually spending some time with the instrument?s short keys, and his asking Andreas Streicher of Vienna to bring it up to required Viennese standards. Louder, brighter, and with facilities for ?una corda,? these French-influenced instruments led other makers towards these attributes, including Johann Fritz.
Interesting that in the section headed ?Performance Practice Research,? much space is devoted to the fact that the volume the orchestras of the time created was far greater than that we hear today, despite their considerably smaller size?this because of the severely reduced dimensions of the various rooms/halls the works were performed in. That would, possibly, explain the close recording balance exhibited by the present release. Quite a shock on first meeting, it all takes some getting used to, for there is surely an implicit contradiction between the chamber-size forces and the in-your-face sonic experience that results.
Once the ear has adjusted, though, the swings and roundabouts that comprise these performances can be more fully evaluated. The Fourth Concerto initially has problems establishing an intimacy, even with the aforesaid ear-adjustment?and the ensuing tutti actually sounds quite jolly. The presence of keyboard continuo is perhaps another surprise, but it is contradiction rather than surprise that lies at the heart of this. Bearing in mind the reduced forces, one might be forgiven if one expects increased intimacy, so the outgoing nature of the performance seems somewhat at odds. The cadenza begins with a dramatic descending scale, ushering in one of the highlights of the performance.
The strings of the slow movement rather bizarrely sound martial (not to mention ultra-clipped in delivery); the finale emerges more as relaxed and engaging chamber music than anything else. An interesting approach overall, but return visits to this account of the Fourth might be rather few in number, I suspect.
And the ?Emperor?? Well, the brightness of the orchestra is certainly fitting. Good that on his chosen instrument Schoonderwoerd is able to use more pedal and not worry about blurring; good also that the chosen scale enables orchestral detail to register in a way impossible with larger groups. There is, however, perhaps too much of a sense of struggle (technical), and around the 10:40 mark the tension noticeably sags.
The second movement is marked by Beethoven Adagio un poco moto . Here it is a healthy andante mosso . ?Healthy? in fact is a fairly well-chosen description, for Schoonderwoerd?s attack is certainly that, verging on the martellato on occasion. Yet, this is not the greatest problem here. The lack of good legato can lead to problems in chordal passages, plus the so-often magical transition to the finale is on the literal side. The finale does much to redeem the situation. Predominantly dance-like in character, there is a real sense of play here as well as some energy. Just lacking the final ounce of bite, perhaps.
No chance of deposing any preferred versions (so many to choose from?Pollini/Bohm in No. 4 and Arrau/Davis in No. 5 spring most easily to mind), but illuminating nonetheless. – Colin Clarke