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“This fifth volume in Simax's Beethoven series follows the already wellset pattern of presenting the composer in a more intimate, closely focused setting than usual ... at the start of the Triple Concerto the extreme hush of the opening quickly expands in a sunburst crescendo, reminding one that this is in its way as original as the hushed opening of the Fourth Piano Concerto.
“All this pays tribute to the conductor, Thomas Dausgaard, and the soloists match him well, with Boris Berezovsky in the Third Piano Concerto also drawing on a very wide dynamic range. Despite the relatively small scale, he opts for Beethoven's last and longest cadenza in the first movement, weightily done but with the most delicate half-tones in the development of second subject material. Following the pattern of the series, outer movements are on the fast side, with influences from period performance practice; yet the slow movements in both concertos are taken at very measured speeds, with Berezovsky allowing himself ample expressive freedom in agogic hesitations. The finale of the Piano Concerto sparkles with joy, thanks in fair measure to the pianist's exceptionally clean articulation, with passage-work perfectly even."
“The Dausgaard/Swedish Chamber Orchestra partnership produced some fine things in Beethoven´s symphonies, and it´s good to find them on the same form in these two concertos. The blending of modern instruments and period performing styles is every bit as vital and convincing as before. In the orchestral opening sections of both concertos they create a delicious sense of anticipation ... Berezovsky is a fine, characterful pianist. His playing in both works has its exquisite moments. Sparkling clarity and teasing wit can be found even in passages where you might not expect such qualities. In Berezovsky´s hands, the C minor Piano Concerto isn´t the titanic struggle it´s often made out to be — the emergence of the major key in the finale isn´t projected as a triumph, more a recovery of temporarily lost high spirits."



