Brahms: Piano Concerto No. 1 [Hybrid SACD]

Brahms: Piano Concerto No. 1 [Hybrid SACD]

Brahms: Piano Concerto No. 1 [Hybrid SACD]
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CD Details

Composer: Johannes Brahms
Conductor: Fritz Reiner
Orchestra: Chicago Symphony Orchestra
Performer: Artur Rubinstein
Edition: Music CD
Format: Hybrid SACD - DSD
CD Release Date: 2005-01-25
Music Label: RCA
Soundtracks:
  1. Piano Concerto No. 1 in D minor, Op. 15: Maestoso
  2. Piano Concerto No. 1 in D minor, Op. 15: Adagio
  3. Piano Concerto No. 1 in D minor, Op. 15: Rondo: Allegro non troppo

Music reviews of Brahms: Piano Concerto No. 1 [Hybrid SACD]

Music Review: Excellent performance and recording
Rating: 5 Stars

This SACD reproduces the first stereo recording made of this concerto, in April of 1954. Despite the early date, the recording is first rate, characterized by an unusually close perspective on both piano and orchestra. Many of the details of Brahms' scoring come through more clearly than in many later recordings, especially the woodwinds (which are unusually present, and spread across the stereo image) and the low strings, which are reproduced with superb fidelity. A slight mis-tuning of a couple of upper piano notes is the only notable flaw. (It is also interesting that Reiner had the Chicago Symphony strings in the older european seating plan with 1st. violins on the left, 2nd violins on the right, and the basses on the left, which the recording reproduces accurately. The following season, he had the strings adopt the "American" seating plan used by most orchestras today, with both violin sections to the left and basses to the right.)

Rubinstein's way with Brahms is fascinating to listen to. He was known for his ability to clarify the musical phrasing of composers such as Chopin, and he does the same thing with Brahms, without ever neglecting Brahms' counterpoint. Rubinstein has a natural feel for rubato that he constantly uses to shape musical phrases and enable a sense of forward motion. He is ably abetted in this by Fritz Reiner, who also understands the uses of rubato, without ever losing the sense of the music's architecture. In that sense, this recording is an object lesson in romantic style.

I compared the first movement of this recording to a couple of others I had on hand. Horatio Guitierrez recorded this concerto for Telarc with Andre Previn directing the Royal Philharmonic. The sound quality, as one expects from Telarc, is very fine, with the tympani parts especially vivid. However, the performance seems very slow and static compared to Rubenstein and Reiner. It is not so much a matter of overall speed--the timing of the first movement of Guitierrez and Previn is only about 30 odd seconds slower. But there is nowhere near the same use of rubato to shape and enliven their performance--Previn from the first plods along at a steady tempo and Guitierrez dutifully follows.

I have the LP issue of Rudolf Serkin's recording with George Szell and the Cleveland Orchestra (mid-1960's). The sound of the recording is nowhere near as good as the 1954 Rubenstein/Reiner rendition--the piano is clear, but sounds monophonic and the orchestra is some distance behind the piano, which results in many internal details of scoring being covered. I would expect the CD version to have a cleaner background and possibly better tonal balance, but the problem of the artificial perspective would remain.

Serkin and Szell do not lack for speed--their first movement is just over 21 minutes long, which is fast, compared to most other versions. Serkin also knows how to phrase and shape the music. Still, he lacks the natural rubato and feel for legato that Rubenstein displays. In loud passages, Serkin tends to bang a bit, and Szell and his orchestra display the sharp-edged attack they were known for. I have always respected this recording, while not particularly enjoying it. (Footnote: in the late 1940's, Serkin recorded this concerto with Fritz Reiner conducting the Pittsburgh Symphony. While the sound is not very good mono, I have always enjoyed that recording for its vigorous, straightforward approach. Reiner is the type of conductor who can adapt himself to his soloist, and he brings out the best in Serkin.)

Short review: this historic stereo recording is one of the best that has been made of this concerto. Highly recommended.
More Brahms: Piano Concerto No. 1 [Hybrid SACD] free music reviews:
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