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Beethoven: Piano Concerto No. 3, Mass - Ax / Tilson Thomas

Beethoven: Piano Concerto No. 3, Mass - Ax / Tilson Thomas

San Francisco Symphony  SFS 0064

Stereo/Multichannel Hybrid

Classical - Vocal


Beethoven: Piano Concerto No. 3 & Mass

Emmanuel Ax, piano
Joélle Harvey, soprano
Kelley O'Connor, mezzo-soprano
William Burden, tenor
Shenyang, bass-baritone
San Francisco Symphony Chorus
San Francisco Symphony
Michael Tilson Thomas


Own two of the works that helped cement Beethoven’s reputation as a creative genius like none other. Internationally acclaimed pianist Emanuel Ax joins Michael Tilson Thomas and the San Francisco Symphony in a dynamic performance of Beethoven’s robust Piano Concerto No. 3. Then, MTT leads the Grammy-winning SF Symphony Chorus and musicians in a rarely performed work: Beethoven’s Mass in C major.

This album continues MTT and the San Francisco Symphony's ongoing exploration of the music of Beethoven.

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PCM recording

Recorded live 26-28 September 2013 (Concerto) and 15-18 January 2014 (Mass) at the Davies Symphony Hall, San Francisco War Memorial and Performing Arts Center, San Francisco, United States, 24/96 (Concerto) & 24/192 (Mass)
Reviews (1)
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Review by Graham Williams - November 18, 2015

Rather than focusing purely on the symphonies, previous releases in Michael Tilson Thomas's series of live Beethoven recordings with the San Francisco Symphony featured the 4th Piano Concerto, played by Emanuel Ax, Beethoven: Symphony No. 5, Piano Concerto No. 4 - Ax / Tilson Thomas and one of the composer's neglected and rarely recorded choral works Beethoven: Symphony No. 2, Cantata on the Death of Emperor Joseph II - Tilson Thomas . On this latest SACD, the fifth in the series, that pattern is repeated, this time coupling Beethoven's 3rd 'Piano Concerto in C minor' with his infrequently performed 'Mass in C major' of 1808 that together make a most satisfying programme.

Emanuel Ax delivers a magisterial yet wonderfully fluent account of the Concerto, born of a lifetime's experience of this composer's music. The orchestral playing is engagingly pointed and precise and both pianist and conductor are in absolute accord. Though this is expansive and big-boned Beethoven it is never inflated or heavy. Balances are exemplary with the soloist in perfect perspective with the orchestra and Beethoven's writing for wind instruments is never masked by the strings. The 'Largo' is delivered by Ax with a rapt concentration matched by MTT's sensitive accompaniment while the final rondo, that here follows attacca, dances with an affectionate and playful warmth. The Presto coda that brings the work to a brilliant conclusion certainly deserves the shouts and enthusiastic applause from the appreciative audience, though whether one wants them preserved for posterity in this way is debatable. The work was recorded in 96Khz / 24-bit audio (26-28 September, 2013) and the sound quality is excellent. This authoritative account of a much-recorded work will be welcomed not only by the countless admirers of Emanuel Ax but also those for whom the period performances of it that have appeared on SACD have little or no appeal.

The Beethoven's Mass makes it second appearance on SACD, and MTT's grandly conceived and vigorous account of it eclipses in pretty well every way the version on LSO live by Colin Davis and the London Symphony Orchestra Beethoven: Mass in C - Sir Colin Davis made in the Barbican Hall, London, whose cramped acoustic is, with few exceptions, unhelpful to the presentation of large scale choral works. Here we have the advantage of the more spacious acoustic of the Davies Symphony Hall in the San Francisco War Memorial and Performing Arts Centre and a vividly realistic recorded sound that captures the full scale of MTT's interpretation. In addition, Michael Tilson Thomas has the benefit of the superb San Francisco Symphony Chorus, trained by Ragnar Bohlin, who in spite of their large numbers (around 100 voices) sing with commendable enthusiasm and very clear diction. They make a glorious sound in the big outbursts of the 'Gloria' and the 'Credo – supplemented by the firm pedal notes of the organ. Amongst the four soloists – a capable and well-matched team – the sweet voiced soprano of Joélle Harvey stands out. At the final moving 'Agnus Dei' that ends with the words 'dona nobis pacem' (give us peace), one is grateful for the few seconds of silence, before respectful applause is heard.

The Mass was recorded in PCM 192Khz /24 bit audio (15-18January, 2014) and, as with the concerto, Jack Vad (producer) and his engineering team have done an excellent job in conveying the atmosphere of the live performance.

A most recommendable release.

Copyright © 2015 Graham Williams and HRAudio.net

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Sonics (Multichannel):

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Comment by hiredfox - December 12, 2015 (1 of 1)

I am always a little perplexed by your reviews Graham as they rarely criticise, seeing only good; for me the only distinctions seem to be between "excellent" and "exemplary" 4 1/2 stars or 5! The problem this leaves for the rest of us is an accusation of negativity if contrary opinions are expressed.

In this case I found the performances to be enjoyable if a little bland Ax coming across as a little too stylised and laboured. Listening in stereo on a high end system the Mass suffers the same cramped acoustic as was evident at The Barbican. Part of the problem may be that the choir was located in the stalls at the rear of the stage above the orchestra close to the ceiling whereas soloists were arranged either side of the podium. Solo voices as a result come across with excellent clarity.

Probably first choice for the Mass in a very limited SACD field but the Piano Concerto is only one of a number of decent options but nowhere near the best.