“This G major chord has the power to calm the entire world,” writes Reed Tetzloff in the booklet. He begins Beethoven’s G major concerto with a delicate arpeggio, reminiscent of Orpheus’ lyre—a figure who, as we know, stands pleading in vain at the gates of Hades in the second movement.
The contrast between the soloist and the Prague Philharmonia under Pawel Kapelka is striking, particularly in terms of tempo. Tetzloff frequently indulges in reflective slowdowns, prompting the orchestra to regain momentum afterward. This approach works beautifully when he plays the passages with such lyricism, transforming them into sparkling brilliance while maintaining perfect clarity and transparency in every tone.
Transitions are performed with chamber music-like care, as crescendos and decrescendos are approached collaboratively—for instance, in the shift from the dramatically charged cadenza to the lyrical tutti entry. Thanks to the pianist’s rare ability to produce extremely soft dynamics, some developments and accents feel sharper and more pronounced than usual.
The often-majestic E-flat major concerto receives a refreshing and refined interpretation through Tetzloff’s crystalline, delicately shimmering playing. The orchestra, equally transparent, brings out the revolutionary timpani. After a stunning ritardando from the winds before the reprise, the optimism of the soloist’s arpeggios shines all the brighter, only to dissolve again immediately.
This album may not offer groundbreaking new interpretive insights, but it convinces in every note and captivates with its many moments of exquisite beauty.
Isabel Herzfeld “Piano News”, 2024