Brahms Piano Concerto No. 1

[Mark]

RE: Bunny's recommendation earlier, the Friere/Chailly pair has won Gramophone 2007 Record of the Year Award, and deservedly so IMO.  Friere performs this demanding score with an unassuming grace and refreshing lyricism which I think is an essential aspect of this work but have rarely heard elsewhere. 

It is a fine set, to be sure. I'd like it more if there wasn't quite so much 'warmth' in the recorded sound. I imagine that on decent hifi equipment, this is less perceptible. I have to use a little EQ to cool the temperature, otherwise I find the edges of details get everso slightly muddied.

[FideLeo]

It is a fine set, to be sure. I'd like it more if there wasn't quite so much 'warmth' in the recorded sound. I imagine that on decent hifi equipment, this is less perceptible. I have to use a little EQ to cool the temperature, otherwise I find the edges of details get everso slightly muddied.

That it was recorded live in a concert hall probably made it difficult to obtain optimal results, but it could also be recording engineer's inept colouring, the famed Decca Sound being not what it once was. 

[sidoze]

the rare Malcuzynski is probably the one I'd listen to if I ever have to hear this again

[brpaulandrew]

I agree with George that these are among the very best:

Serkin/Szell
Fleisher/Szell
Gilels/Jochum


I'm having second thoughts about Curzon/Szell (which, historically, I've praised as the non plus ultra); however, I'm beginning to think that Curzon cheated on the octave trills in the first movement (using the ossia version of the trills rather than the much more cumbersome, arduous true octave trill).  Ergo, I'm reconsidering the Curzon/Szell at the moment . . . . . .

I've loved these concerti since first buying the Serkin/Szell in college. They have always been an important part of my love for Brahms music. We are in agreement with recommendations. Gilels and Jochum are towards the top of my list.

I also have Beremboim/Klemperer. The pianist is in his early 20's and has a smoldering fire burning in him. Even though it is the slowest on record, the artists do hold it all together.

So, I guess I'll get out my Curzon/Szell with my score and listen for those octaves...

[Brian]

I know this is not a popular choice but this is my first recording of this work, extremely urgent and unpretentious reading of this work. You won't find anything idiosyncratic in the reading.

Just wanted to chime in on this one. There is something rather idiosyncratic about this performance; like Curzon's reading, the slow movement is taken at a drastically reduced speed. The gradual increase in intensity in the center of the movement leads to a shattering climax - so powerful, in fact, that the performance suffers because the last movement is so dreadfully anticlimactic!

[DieNacht]

There´s a lot more recordings, including

- Schnabel,Szell,LPO/emi 1938
- Manz,Mandeal,BuchSO/arte nova
- Horowitz,Walter,CtGeb (1.movement: a few minutes missing) 1936/radio years
- Horowitz,Toscanini,NYPO (extremely poor sound, barely audible) 1935/radio years
- Woodward,Masur,NPO/rca LP
- Yankoff,Goehr,NethPO/mms mono
- Wührer,Swarowsky,WienStPhilh/vox mono LP
- Van Cliburn,Leinsdorf,BosSO/rca
- Lupu,Waart,LPO/decca
- Grinberg,Rozhdestvensky/melodiya

The Horowitz/Walter should be heard, it is Horowitz at his most electrifying and very different from all modern interpretations, unfortunately with a cut in the middle of the 1st movement.

I like the Manz-Mandeal set of both concerti a lot, they are quite unlike most other modern versions, rather fast and slender in stead of the usual massive standard approach.

Woodward´s was the first I heard, it is a sublime version, very well-articulated and splendid sound, not controversial as regards the phrasing in any way but just perfect ... It´s a mystery why this pianist has made so few records ?
 

[North Star]

And not forgetting Stephen Kovacevich; Sir Colin Davis & LSO on Phillips or Newton Classics

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Or, as a part of a 4 CD box of Kovacevich Brahms from Amazon UK (I have this set and it is splendid, excellent playing from Kovacevich and Colin Davis with the LSO in the concertos in great sound)
http://www.amazon.co.uk/Stephen-Kovacevich-Plays-Brahms-Box/dp/B000BV5RCY/ref=sr_1_4?ie=UTF8&qid=1315520387&sr=8-4

[mjwal]

My view of the work has in the meantime been modified by one old and one recent recording of the work; while I would not relegate Ciani/Abbado from at least joint top position (all four Szell-led versions are very good in their way and then there is the superb Arrau/Kubelik), the Kapell/Mitropoulos has all the fire and poetry of the young Brahms, while the Tomsic/Nanut is magisterial (even if the Ljubljana orchestra is not quite topnotch), luminously umbrageous but sharply etched where necessary. I actually had this CD for quite a while, picked up for a song, but didn't really pay attention. Barenboim/Barbirolli, which I have also acquired, is orchestrally very rich, like an old Stilton, and Barenboim plays very limpidly (though at times sounding a bit like a rather prominent piano obbligato to me). A recent comparative survey by various French critics on line actually put Leonskaya/Inbal first, but I was unable to share their enthusiasm.
The time differences for individual movements are sometimes rather unexpected - the Adagio, for instance, is usually taken in around 14-15 minutes, but Tomsic/Nanut take only 13'13 and Curzon/Szell a timeless 16'01! I find the Inbal (14'07) here too smooth and superficial although the counterpoint is very clear, and it moves me not at all. Barbirolli (15'44) seems to beat differently than the others: the music does not drift sadly, as with others, but has the clear rhythmic attributes of a slow dead-march; I like this very much. The Cleveland (14'26) seem rather listless in this movement, which may be down to the recording, though Serkin is characteristically both acerbic and poignant. Curzon is emotionally convincing at this slow speed but the orchestral contribution by the LSO seems to fall apart and fade away a little, especially if you have just listened to Nanut's fluent urgency offset by Tomsic's subtly modulated and powerful playing. I just love Mitropoulos's approach (14'48), flexible and passionate, with which Kapell harmonises perfectly, with his own nuances of angry or resigned sorrow - if only the recording were better and the sound not additionally detracted from by an orgy of bronchial exhalations. I cannot say anything specific here about the Ciani, as it it somewhere else at present.
All opinions subject to change!

[Todd]

There are many fine recorded versions of the work, but right now I am most interested in how Yefim Bronfman will play it when I see him in concert next month. 

[jwinter]

As I greatly enjoy both Arrau's Brahms concerti with Haitink and Giulini's Brahms symphonies, I'm wondering if I need to hear the Brahms PCs with Arrau and Giulini below:

[asin]B00127ISF4[/asin]

The violin concerto is with Oistrakh and Klemperer, which I already have and is quite good....

Also, any new favorite recordings of this work since last it was discussed?  While I have oodles, I find I always seem to come back to Curzon/Szell, Gilels/Jochum, or Barenboim/Barbirolli.  Classics for a reason, I suppose...

Based on Andre's comments of five years ago    above, I may have to give Donohoe/Svetlanov a spin tonight.  I'm pretty sure I have that, bought on a whim off the shelf back in days of yore when classical music stores still existed, sigh...

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[Todd]

 






I recently acquired three new recordings.  They all meet some basic criteria: well known soloist, well known conductor, world class orchestra, major label.  All are good, but one is better than the others.

I hesitated on the Pollini/Thielemann because of Thielemann, but the recording is better than I expected.  Pollini is not in the same form as in his live recording with Abbado (still a favorite), but the tradeoff is his tone is less stark.  Thielemann is pretty darned good, too, and the Dresden band plays well.  Sound is good for a live recording, though the balances seem off from time to time.

The Weissenberg/Giulini set is mixed in that Weissenberg's playing is forceful and very fine, but Giulini is conducting for an even better soloist.  It is possibly the best accompaniment I've heard, the most satisfyingly Brahmsian.  But then, Giulini's Brahms is about as good as it gets.  Sound is good.  This is the highlight of a weak box set.

The gem here, for me, is the Paik/Inbal.  Paik's Brahms is largely about tone and beauty, which works splendidly on his solo works disc.  It works here, too, because he can and does play with power and intensity when needed.  Inbal and the Czech PO play superbly, too, and the sound is top notch, with some hefty bass.  Paik is one heck of a Brahmsian, and this recording joins my favorites.

[The Raven]

if curzon and gilels are not enough then freire/chailly and moravec/belohlavek...if you like serkin maybe serkin/szell

[Leon]

Aside from the Fleisher/Szell already mentioned, and the Paik/Inbal, this one I also like a lot:

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[Leon]

if curzon and gilels are not enough then freire/chailly and moravec/belohlavek...if you like serkin maybe serkin/szell

I had not seen your post before I made mine.

Freire/Chailly is good, isn't it!

[The Raven]

Freire/Chailly is good, isn't it!

Yes. It's good to have it on the side...

[xochitl]

no one likes brendel/abbado?

it's the recording that changed my mind about romantic piano concertos in general [was not a big fan]

[liuzerus87]

My view of the work has in the meantime been modified by one old and one recent recording of the work; while I would not relegate Ciani/Abbado from at least joint top position (all four Szell-led versions are very good in their way and then there is the superb Arrau/Kubelik), the Kapell/Mitropoulos has all the fire and poetry of the young Brahms, while the Tomsic/Nanut is magisterial (even if the Ljubljana orchestra is not quite topnotch), luminously umbrageous but sharply etched where necessary. I actually had this CD for quite a while, picked up for a song, but didn't really pay attention. Barenboim/Barbirolli, which I have also acquired, is orchestrally very rich, like an old Stilton, and Barenboim plays very limpidly (though at times sounding a bit like a rather prominent piano obbligato to me). A recent comparative survey by various French critics on line actually put Leonskaya/Inbal first, but I was unable to share their enthusiasm.
The time differences for individual movements are sometimes rather unexpected - the Adagio, for instance, is usually taken in around 14-15 minutes, but Tomsic/Nanut take only 13'13 and Curzon/Szell a timeless 16'01! I find the Inbal (14'07) here too smooth and superficial although the counterpoint is very clear, and it moves me not at all. Barbirolli (15'44) seems to beat differently than the others: the music does not drift sadly, as with others, but has the clear rhythmic attributes of a slow dead-march; I like this very much. The Cleveland (14'26) seem rather listless in this movement, which may be down to the recording, though Serkin is characteristically both acerbic and poignant. Curzon is emotionally convincing at this slow speed but the orchestral contribution by the LSO seems to fall apart and fade away a little, especially if you have just listened to Nanut's fluent urgency offset by Tomsic's subtly modulated and powerful playing. I just love Mitropoulos's approach (14'48), flexible and passionate, with which Kapell harmonises perfectly, with his own nuances of angry or resigned sorrow - if only the recording were better and the sound not additionally detracted from by an orgy of bronchial exhalations. I cannot say anything specific here about the Ciani, as it it somewhere else at present.
All opinions subject to change!

Based on this post and what I heard on Youtube, I purchased the Music&Arts recording of Kapell/Mitropoulos and played it through today. What a fantastic recording! The first movement is marked by stunning virtuosity, and I can easily see why comparisons are made between him and Horowitz. But there are also moments of serenity and beauty, and these are what make this recording special to my ears. As mjwal mentions, Mitropoulos's way with the Adagio is truly a wonder... in comparison, many other recordings sound static and metronomic.

The sound to me is fairly reasonable... perhaps below standard for a late-50s recording but still very listenable. M&A have also done a decent job minimizing the sound of the coughing, enough that I quickly stop noticing them. I do hear a fair number of ensemble problems, especially between the piano and orchestra, but this seems a fair price to pay for a live performance of this much fire and flexibility.

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[Brass Hole]

This is a very strong performance: