Which Brahms Piano Concerti would YOU choose ...

[BachQ]

I never just buy individual works/tracks. I always want the whole disc's worth of material. I'm anal like that.

But, then again, one possible benefit of e-classical is that you can buy just the first movement (if you're not positive that you'll enjoy the entire piece or the full performance).  If the first movement is excellent, then you buy the rest.  If it's sub-par, then you cut your losses ........ 

Just a thought ......... 

[Mark]

But, then again, one possible benefit of e-classical is that you can buy just the first movement (if you're not positive that you'll enjoy the entire piece or the full performance).  If the first movement is excellent, then you buy the rest.  If it's sub-par, then you cut your losses ........ 

Just a thought ......... 

And a good thought it is. I'd never looked at it that way, but it's certainly a low-risk means to cutting one's losses.

The Backhaus rocks, btw.

[George]

And a good thought it is. I'd never looked at it that way, but it's certainly a low-risk means to cutting one's losses.

The Backhaus rocks, btw.

I cannot even begin to say just how proud of you we all are, Mark. 

[Mark]

I cannot even begin to say just how proud of you we all are, Mark. 

Can it, wise guy!

I'm not against historical recordings, I just prefer modern ones in great sound.

[Harry]

Ehhhh, I could not say, for I have yet to find performances that I like!

[George]

Can it, wise guy!

I'm not against historical recordings, I just prefer modern ones in great sound.

Hey!!

I was 90% serious, Mark. 

[dirkronk]

Richter's favorite is the one with Maazel.

Don't be swayed too much by Richter's commentary on his own recordings. I disagree with his opinions rather frequently. I certainly do here--the Maazel Brahms isn't nearly as exciting as the Leinsdorf to my ears. In fact, though it's been a long time since I heard their recording, I found Richter and Maazel rather a stylistic mismatch in the piece, while the Chicago recording is one of my all-time top choices for the Brahms PC#2, and certainly my top choice among Richter versions. Yes, I too would have loved hearing him collaborate with Reiner instead, but that just didn't happen. (He did a few other performances of this piece that were put to tape. The one with Mravinsky--which SHOULD have been the ultimate dream team--is disjointed, almost utterly insane, but fascinating for all that.) YMMV, of course.

Other examples of Richter's opinions not squaring with mine: his 1960 Carnegie Hall recordings. He claimed to hate them; I think they have some real treasures to offer the listener. I can think of only a couple of reasons to explain Richter's antipathy for these particular performances. One, there is an almost palpable nervous tension in almost all the Carnegie performances. I find the results to be frequently compelling, offering edge-of-the-seat experiences, but he may not have cared to be reminded of his emotional state during these concerts. Two, since he came away from that trip with a very sour reaction to everything American (mostly due to crass elements of the music promotion and recording worlds he encountered, it seems), he may have hated most of the work he did here, simply by association.

But I digress. With regard to the Brahms, if you want Richter in thrilling full flight, I say go for the RCA.

Cheers,

Dirk

[Mark]

Thanks, Dirk.

[George]

Don't be swayed too much by Richter's commentary on his own recordings. I disagree with his opinions rather frequently. I certainly do here--the Maazel Brahms isn't nearly as exciting as the Leinsdorf to my ears.

I certainly wasn't arguing that the Maazel is better (I haven't heard the other), I was just stating that it was the one that Richter preferred and therefore wanted people to hear. I think there is a lot to be said for wanting to hear performances that the performer approved of, similar to wanting to hear want the composer wanted us to hear. In both cases, it doesn't mean its better, it just gives us a window into the mind of the performer/composer. Serkin's 1960 LvB Op. 110 was never approved for release by the performer and it is my very favorite recording of the work, not just by him but by anyone. Why he chose two other performances for release, I don't yet know, but because I have them I can listen and perhaps get a better understanding of Serkin and his ideas about Beethoven. I already know what I like, but it's interesting to see what the performer likes, just as it is interesting to hear about what others here like. 

But I digress. With regard to the Brahms, if you want Richter in thrilling full flight, I say go for the RCA.

So, I bought the Maazel because I wanted to hear what Richter wanted me to hear. If that's what you want Mark, then that's the one for you. If want you want is the consensus best recording by his fans, then you'll want the Leinsdorf.

[Lilas Pastia]

The Arrau-Haitink versions are very good, but not the kind to deliver a-thrill-a-minute. Deeply considered, old world performances, with grit and culture in excellent balance. These are dark, serious interpretations that continue to satisfy on the long term. Superb orchestral accompaniment. Especially noteworthy is the cello solo in 2:III, played by the great Tibor de Machula. Slightly nasal in tone, but oh! so expressive!

[Mark]

George, Lilas, thank you both.

I'm busy at the moment exploring the Pollini/Bohm/VPO recordings (No. 2 - 1977/No. 1 - 1980) over at Universal's site. Stunning playing from both orchestra and soloist. Don't know why, but my ear always prefers the VPO to the BPO. At the moment, judging solely on the short samples, Pollini is slowly edging out Gilels for the top spot on my wish list.

Btw, I ordered the RCA Richter with Leinsdorf. Let's see, shall we?

[Mark]

Now checking out the Brendel/Abbado/BPO recordings on Philips. A little too close to the more recent (but sonically superior) Freire/Chailly recordings on Decca to earn a place on my shelves, methinks ...

[AnthonyAthletic]

You do have the Curzon/Szell 1st don't you Mark....silly question? 

[Mark]

As to Pollini/Abbado/BPO ... that's a definite 'no'. Piano too far forward, for one thing.

[George]

As to Pollini/Abbado/BPO ... that's a definite 'no'. Piano too far forward, for one thing.

Sample the Moravec yet?

[Mark]

You do have the Curzon/Szell 1st don't you Mark....silly question? 

Not yet. But having just heard the samples of the No. 1, I'm very tempted.

[Steve]

Not yet. But having just heard the samples of the No. 1, I'm very tempted.

Not before Serken/Szell... 

[George]

Not before Serken/Szell... 

Indeed. 

[Joe Barron]

I have the Fleisher/Szell recordings, and I have never ever felt the need for any others. The recording of the first, in particular, is one of my favorite recordings by any piece by anyone.

[jwinter]

The Arrau-Haitink versions are very good, but not the kind to deliver a-thrill-a-minute. Deeply considered, old world performances, with grit and culture in excellent balance. These are dark, serious interpretations that continue to satisfy on the long term. Superb orchestral accompaniment. Especially noteworthy is the cello solo in 2:III, played by the great Tibor de Machula. Slightly nasal in tone, but oh! so expressive!

Well said, that's an excellent, often underrated set.  I'd put it right up there with Fleischer/Szell, Gilels/Jochum, and Barenboim/Barbirolli among my person faves.