Robert L. Berkowitz | Natick, MA United States | 10/03/2002
(5 out of 5 stars)
"It's remarkable that two previous reviewers, both fans of Arrau, rated this compilation as "best" and "worst" performances of the Brahms concertos. I believe it speaks to the uniqueness of Arrau's approach. These recordings increased my already significant respect for Arrau. Arrau takes some liberties in these concertos, particularly with rubato, but I find his liberties highlight the dramatic tension of these works. I prefer Arrau/ Haitink's Brahms 2nd to Richter/ Leinsdorf and Fleisher/ Szell, though I find a special beauty in the account by Gilels/ Jochum that commends it equally. The Arrau/ Haitink version of the first concerto is probably still my favorite.When I want to hear a fresh approach to Brahms' concertos, I listen to the Arrau performance. In this way, it has become an important recording in my collection."
An over-all pleasing and complete recording.
Robert L. Berkowitz | 09/13/1999
(4 out of 5 stars)
"The two Brahms Piano Concerti must be among the greatest works in their respective literature. Both are quite diffucult, especially the second, which has phrases of odd length, and which contains unpianistic writing in general. This piece is very strong in Arrau's recording, even though it is a bit long. The tempos don't seem to drag, and Arrau projects a great feeling of urgency in the first movement. The two Overtures are a bonus surprise, as well as the Haydn Variations, put in for good measure. The first Brahms Concerto is yet even greater in Arrau's hands; he dutifully expresses Brahms' great personal pain at Schumann's attempted suicide, which creates a very grim spirit that presides throughout the first movement. Once again, we see that the times are not that fast (53 minutes for this one!), but Arrau still shouldn't recieve any late penalties from the listener. The finale of the First Concerto is incredibly exciting. This is Arrau at his finest. The cadenzas here are perhaps unmatched in this unmetered interpretation. A very nice recording for one who wishes to experience a high point in the concerto literature, or for a true Brahms fanatic."
It's excellent
Robert L. Berkowitz | 01/31/2002
(5 out of 5 stars)
"I'd have to agree with the previous reviewer - the balance is so incredibly important on these two concerti. I can understand the gripe that the first sounds somewhat ponderous (I disagree, but that's a personal choice, I suppose), but the dialogue between the piano and the orchestra is spectacular - they are truly collaborating together - something that I feel detractors of this album take for granted."
From Thoroughbred To Greatness
BLee | HK | 08/29/2004
(5 out of 5 stars)
"There was renowned Russian conductor who found Richter "oppressive" and in Arrau a living Brahms whose every phrasing meaningful years after he had accompanied both pianists on Brahms.
There is also a saying that if we are looking for excitement from Brahms, one should turn to his Hungarian music, or perhaps to a lesser degree his No. 1 Piano Concerto written some twenty earlier, at a time when Schumann passed away and he himself in a turmoil and that No. 2 we is essentially involved with the inspirations Brahms instilled from the awesome beauty of the Alps when he was approaching 50: when he was steady and mature enough. That being the case, any criticism against Arrau's tempo or overall approach is most unfounded.
Arrau's performance here is most satisfying, a perfect model for exams and even competitions. If you are concerned with music, and music alone (as opposed to sheer sensation or excitement ), Arrau's Brahms have everything one should possibly look for! And if you're going back to these concerti again especially a few years later, I bet you will find Arrau much more delightful. Equally manificient is the part by Haitink and Concertgebouw.
"
Quite satisfaying
Leonardo | Argentina | 04/15/2006
(5 out of 5 stars)
"I know 4 versions of the piano concertos: Barenboim/Barbirolli, Pollini/B?hm(1)and Abbado (2), Arrau/Giulini and this one. Besides this glorious couple of concerti, all of them include the Tragic overture and Haydn variations (with B?hm in the second case) and the Academic Festival overture (Barbirolli and Haitink only).
In my opinion this is the most satisfaying compilation of the 4 already listed. Of course, with such diverse works not all are prefect here but the balance of positive aspects outdo the negative ones more than the competition listed. So I will compare work by work, in cronological order of composition.
Piano concerto op 15 under Pollini and B?hm is not quite satisfaying. At first hearing you have the glorious Wiener Philarmoniker with their special sound, but balances tend to put brasses behind (a defect of Haitink`s, too). Tempi are quite fluid: the most attractive of the four. But the approach is too superficial and Pollini, well, plays on authomatic pilot. Grammophone said it is a bad performance and after some hearings, I agree. Under Barbirolli the New Philarmonia sounds very good, better balances. The begginning is a bit ponderous (like the last mov), but in general he is attentive to the soloist: a good reading in general. Another tiny imperfections I notice is a lack of unanimous attack of notes in the 2nd mov, but still effective interpretation. Barbirolli shows in the concerti a slow, grand, hyper romantic view, which could be appropiate when played with intensity, as he does. Barenboim is fantastic. Period. Then we have Arrau and Giulini. Arrau is a great, great artist. He was in his sixties when recorded this under Giulini and the Philarmonia. To the virtuosism he adds maturity, a fact that makes his playing superior to Barenboim?s (and a prove that there are different levels of excelence). And the conducting of Giulini excels all competition in every matter: strength and vigour, politeness, orchestral balances (superb brasses!!!), tempi. Then you have Haitink. Still great playing from Arrau, but perhaps not so intense. Orchestra sounds involved (except in begginning of 2nd mov, too plain), but as I said balances are not observed as they should. Irregular, I would say, but not truly "bad", and still great Arrau.
Haydn Variations find B?hm with a heavy reading, but still intense, and with such "gloomy" sound I tend to forgive him. The WP sounds more gloriously than ever. Good, very good.
Under Barbirolli that orchestra does not so good, in fact brasses are too weak in the purely orchestral work that prevents this compilation from being a serious alternative, unless you are looking exclusively for the concerti. Again Giulini is the best here. The Philarmonia is excellent: precise, elegant playing; contrasting tempi (essential in this work) and carefull balances between strings, woodwinds, brasses and timpani, with great clarity, in general. In particular, horns show so focused, detailed phrasing (has it something to do with the fact that Giulini`s father was, if I am not wrong, a horn player??)!! Haitink is very, very good, perhaps not so polite, not enough clarity in brasses as with Giulini, but quite strong, very acceptable reading.
Academic Festival Overture: too "festive" for Brahms, perhaps, but an essential contrast to the Tragic Overture. Barbirolli is very warm and noble; Haitink is another matter: here you discover the energy, the "push" lost under Barbirolli, and with fantastic brasses (far better than Barbirolli`s). Extraordinary. A pity Giulini didn`t record it (here).
Tragic Overture: B?hm plays it with a style similar to that used in Variations. Under Barbirolli it is faster, but nothing resembling something menacing. Clearly underpowered. Giulini is, again, the best. Terrifying, intense, supreme. All the virtues cited before appear here. Haitink does not achieve that, but comes close, very close.
Second Concerto: Pollini, not so good, not so bad. Abbado gets a very intense sound with Wiener Philarmoniker, with fast, fluid, perfect tempi. The problem that makes this version the worsest is the poor sound: pianist too close, orchestra too far behind, little clarity. Under Barenboim/Barbirolli you have a great reading. Slow tempi, but not a problem, perhaps the quieter sections in 2nd mov are played by Barenboim too slowly, but a small criticism in a great second. The last mov is particularly amusing. Then Arrau/Giulini ... surprisingly, not a memorable, great recording. Giulini conducts it with great expertise, but Arrau clearly does not focus himself as he did in op 15. Indeed, in comparison, very good played, but ... a bit boring. Not the "flame" that push them to the heights of artistic greatness. A pity, because this is achieved under Haitink. In the net I red a fan had said Arrau does not understand the structure of 2nd concerto. Please, open your mind. After the horn call, Arrau makes clear from the very begginning that his reading is revealing, quite special, the best of the four.
To sum up, B?hm did acceptable orchestral pieces and a bad 1st, and Abbado a poorly recorded second, so not a favourite. Barenboim/Barbirolli made acceptable concerti, but IMHO not truly great orchestral pieces. Arrau/Giulini did not reoord Academic and have an ordinary second, despite great Tragic, 1st concerto and Variations, and Haitink good 1st (not so good as Giulini`s, but still good, and with a great Arrau), very good Variations, good Tragic, excellent academic and 2nd concerto. That is why this is the best compilation.
There are others like Abbado`s new readings of the piano concerti with Pollini, the pair under Andrew Davis (Virgin label), the DG`s "Trio" compilation (adds to this one the violin and violin and cello concertos), not to forget the famous Gilels/Jochum and Fleischer/Szell couplings, which are filled with piano pieces. But I don?t know them."
Track Listings (4) - Disc #1
