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Dear Oscar, my "list" referred to more recent recordings that normally are overlooked or even ignored because of the "historic" mania...You see there are very good recordings of younger pianists, which have the benefit of the pure, bright, transparent, truly dynamic and spacious recordings which work to the very benefit of the work. In the case of Brahms' Concerti, this is absolutely necessary...
Don't forget, I'm an audiophile.
My favourite recordings are Barenboim/Celibidache, followed by Zimerman/Bernstein and Gould/Bernstein (the latter not your "everyday listening" version, but highly original and interesting). I love the Fischer/Furtwängler version of #2 as well. Arrau/Giulini are a very good choice as well.
Reading your posts Oscar, it is fully apparent that you have an extensive knowledge of classical recordings of the past.That being so,I find your statement "Ferencsik is obviously out of his repertoire in this work" puzzling. I would have thought being born and taught in the Austrian-Hungarian tradition would have made him an ideal accompanist in Brahms.
Apologies - the link was meant to go too a review of the Katchen/Ferencisk CD.
Solomon/Dobrowen in #2 still, 50 years after first hearing it, one of my top 3 all-time most treasured classical recordings. It's a performance that's on fire from first note to last, glorious playing by the Philharmonia with a magical solo by Haydn Rogerson in the slow movement.
#1 is a bit more problematical. I'm still looking for the recording that's in my head. Gilels/Jochum comes closest. Honourable mentions to Serkin - saw him perform it in Toronto in the 70s - and Curzon. Tempi are so important in this work. The opening must be portentous without sounding pompous or turning into a dirge and the piano entry has to, in my ideal version at least, almost contradict what has gone before.
like you know my preferred version in # 1 is Peter Donohoe-Yevgeni Svetlanov with the Philharmonia Orch., but recently I had the ocassion to hear Alexis Weissenberg-Ricardo Muti version of this work with Philadelphia Orch in Emi "encore", and because of that may be that Im would be changing to that version: a diaphanous orchestral conduction, a precise and clear digitation from the soloistand and a luminous sound. Thanks to this recording was possible to me to appreciate details in the work that I hadnt hear never before!), excellent sound also. Ill would be changing to Weissenberg until now! Also comes Cesar Franks "Variations for piano and orchestra" with Karajan-Berlin, excellent too!. What do you think about this recording?? oscar.olavarria
Check also the Dichter/Masur recordings of both concertos, particularly on the Pentatone SACD transfers. You may approve them. At least, you may enjoy the clarity and transparency of the lines, the very realistic dynamics, the wonderful Gewandhaus Leipzig Orch. and some more.
I have liked the Zimerman/Bernstein/VPO recordings of both very much.
Granted, I know that people may not like his approach to the First. However it is a very introspective version that offers us new insights. I like it that Zimerman doesn't push too hard in this concerto and he comes closer to the struggles that Brahms was going through when he couldn't cope with the attempted suicide of Schumann.
The Zimerman/Bernstein/VPO Second is very fine too.
I would recommend Gilels/Jochum and Freire/Chailly. regards Anand
For my money, Freire/Chailly in the first concerto, Gilels/Reiner in the second. I also like very much the Horowitz/Toscanini 1948 second concerto, in spite of the sizzling-sausages surface noise (it's a live off-the-air recording).
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