Brahms 1st Piano Concerto, Gilels / Jochum / BPO,9/9
The op. 15 itself is unique among Brahms's compositions. For me, it is a piece that Brahms reveal his feeling so explicitly without any hesitation comparing with over-cautious symphony No.1 (op. 68), well-structured double concerto (op. 102) and retro-perspective clarinet quintet (op.115).
Passion is definitely the key for this work. Jochum seldom revealed his passion frankly; it stays the same in this recording. But during his over-60-year conductor tenure, he cited this performance by his late-age recollection. It could be not exciting but has its position in both performers careers. |
9/9
The op. 15 itself is unique among Brahms's compositions. For me, it is a piece that Brahms reveal his feeling so explicitly without any hesitation comparing with over-cautious symphony No.1 (op. 68), well-structured double concerto (op. 102) and retro-perspective clarinet quintet (op. 115).
Passion is definitely the key for this work. Jochum seldom revealed his passion frankly; it stays the same in this recording. But during his over-60-year conductor tenure, he cited this performance by his late-age recollection. It could be not exciting but has its position in both performers careers.
|
Szell / 10/8
It's not only Curzon's piano musicality (superior indeed) that makes me single out this performance. Rather, Szell's conducting in the maestoso (hair-raisingingly intense) makes this a "triple" concerto where the star players are Curzon, the LSO, Szell, all in a harmony game. I know there are other contenders for this concerto (Barenboim, etc) but the passion in this interpretation can and does give me goose-bumps...
Decca Legends, CD, 466 376-2
Guys, gals, if anyone is onto this, do give your favourites! |
Abstract7 wrote: Please educate me further. In the liner notes it states: "This is the first recroding on the MA Recrodings label that consistes of a strictly "classical" program." Todd Garfinkle..
Then Todd forgets his recording of Vol. 1 of the Ginastera piano works from some years back. Of, mebbe, the quotes around the word, classical, permit the hedging.
Kal |
Orch./M. Sargent. 10/5
I rate Schnabel's playing over Backhaus in these concerti for the passion & the outstanding technique that allows this passion to be heard. M Sargent's direction is dynamic and involved -- sometimes (4th concerto) I get the impression of listening to Schnabel vs. Sargent upon a theme of Beethoven! The result is, as far as I know, unique -- and, don't get me wrong: it *is* Beethoven.
2CDs (2&5 / 3&4) Testament (old copies; again, don't know the new cat Nos) |
P. Orch./H. Schmidt-Isserstedt. 10,8
I find both Backhaus (crystal clear toucher, esp. left hand)and the orchestra under Isserstedt in excellent symbiosis here; the result sounds well beyond the "sum of the parts".
A very good reference -- or even starting point -- for these concerti.
The recording is very good for the time(1959-60).
Decca -- 3cd |
Kr4: Please educate me further. In the liner notes it states: "This is the first recroding on the MA Recrodings label that consistes of a strictly "classical" program." Todd Garfinkle. |
Bach, Goldberg Variations, Eto Ema, 10, 9: This recording is spectacular. This is the first classical recording on M*A recordings.
This is NOT the first classical M*A recording. Otherwise, I agree with you fully.
|
Beethoven, Piano Sonata 30-32, Rudolf Serkin, 10/10
Aged Serkin provided totally different perspective toward Beethoven's last three piano sonatas.
Live recording was released by Deutsche Grammophon, LD is also available. |
Chorus, Dresden Staatskapelle O., P. Schreier. 10/9
This is the older (1725) version, with Schreier at 63 conducting and singing the Evangelist's part. A very emotionally involved and powerfull performance; the singers sound to me to be spilling out their soul. Schreier's presence as a singer seems to enhance the homogeneity. Not necessarily technically perfect (the Evangelist in the first recitativi...) -- but eminently human.
(Philips, 1988/have the old version, # has changed). |
A hapsichord version to supplement the piano. Hantai's playing is vigorous and rythmical (not as fast as one by van Asperen). I find the playing very good technically -- but also very musical. Hantai gives us a hapsichord performance that is alive, rather than soporific.
(Opus 111 OPS30-84 //1992, maybe a new version out now).
Abstract, thank you for getting this rolling! 1878 Steinway!!! (drool, etc)
Regards. |
My previous post the numbers are backwards. It should read 9, 10: 9 for performance and 10 for sonics. |
This recording is spectacular. This is the first classical recording on M*A recordings. All of M*A recordings are brilliant. They capture the essence of the instrument, which is so important because much of the work is done on world music with instruments we might not be accustom to.
I love this composition and it is difficult to write a review without comparison to Glen Gould's performances. Suffice to say, this captures the instrument so much more realistically (and doesn't have any humming going on) that I find myself sinking into the performance. Eto Ema's performance throughout is technically superb, but lacks a little on the performers signature to the piece, which is why I gave it a 9. That might be positive to some people, but I tend to prefer individual emotion of the performer--their own signature, so to speak. Gould certainly gives us that, but yet I still prefer this recording.
The piano is one of the most difficult instruments to capture, probably due to all of the harmonics. Todd Garfunkle of M*A uses a simple 2 mic direct to DAT, and has done a magnificent job of capturing this vintage 1903 Steinway D. As an owner of a 1878 Steinway B, I know what it should sound like--and it does. This is technically the best recording of a piano I've ever heard. Available on both vinyl and CD. |
