I enjoy the Gilels/Reiner and Horowitz/Barbirolli versions. Whenever I listen to it I imagine the Ken Russell images from the Dr Kildaire and Glenda Jackson film - probably what Ken was aiming for, though it makes me feel a bit of a pleb.
Tchaikovsky : Piano Concerto No 1 - your favourite performance of the old warhorse
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VodkaDilc
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Originally posted by Barbirollians View PostListening to that marvellous swansong of Classic FM magazine - its 2 CD freebie of Tchaikovsky that included the van Cliburn/Kondrashin mega selling account of this piece ......
Or this one? http://www.amazon.co.uk/Van-Cliburn-...m_cr_pr_sims_iLast edited by visualnickmos; 18-06-13, 16:11.
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Originally posted by Brassbandmaestro View PostOne i greatly enjoy is Martha Argerich, with RSO Berlin/Chailly, c/w Rach 3(Bavarian RSO/Kondrashin). I think this one has to be my favouritye one I have.
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Originally posted by Barbirollians View PostI only had the Richter/Karajan which I have to say I thought received an unduly harsh press. What other Richter performances are out there worth listening to - I see there is one with Ancerl and I am sure I recall seeing a Mravinsky .
(Declaration of interest - I penned the sleeve notes)Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency....
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Originally posted by Brassbandmaestro View PostOne i greatly enjoy is Martha Argerich, with RSO Berlin/Chailly, c/w Rach 3(Bavarian RSO/Kondrashin). I think this one has to be my favouritye one I have.
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My first introduction to this was a Decca LP, that I bought in Impact Records in Gillingham High Street in about 1972 - which I carried home - cycling one-handed. So that was that week's paper-round money!
Peter Katin, LSO/Edric Kundell (never heard of him) but the 'B' side is a gem; Concert Fantasia, Peter Katin, LPO/Boult
Still plays beautifully despite being nearly carved down to nothing on an old Ferguson mono record player...
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Originally posted by Barbirollians View PostI only had the Richter/Karajan which I have to say I thought received an unduly harsh press. What other Richter performances are out there worth listening to - I see there is one with Ancerl and I am sure I recall seeing a Mravinsky .
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As an early Tchaikovsky fan, I bought a mid-price LP of the work, played by Ciccolini. To be honest, I was a little disappointed by the work, which I still do not rate particularly highly. Further recordings did little to change my mind, and the generally bad press for the other works for piano and orchestra discouraged me from looking further. Then my uncle gave me a recording of the 2nd and 3rd concertos, played by Gary Graffman in hideously metallic sound. But the music shone through and I still prefer these works (and the Concert Fantasia) to the far better-known earlier work.
A puzzle.
The 2nd movement of the B flat minor work begins with a flute melody, the third note of which appears to be incorrect, and some conductors move the note up a third so that it corresponds with all other appearances of the theme. Any thoughts?
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Originally posted by Eine Alpensinfonie View PostAs an early Tchaikovsky fan, I bought a mid-price LP of the work, played by Ciccolini. To be honest, I was a little disappointed by the work, which I still do not rate particularly highly. Further recordings did little to change my mind, and the generally bad press for the other works for piano and orchestra discouraged me from looking further. Then my uncle gave me a recording of the 2nd and 3rd concertos, played by Gary Graffman in hideously metallic sound. But the music shone through and I still prefer these works (and the Concert Fantasia) to the far better-known earlier work.
A puzzle.
The 2nd movement of the B flat minor work begins with a flute melody, the third note of which appears to be incorrect, and some conductors move the note up a third so that it corresponds with all other appearances of the theme. Any thoughts?
Some flautists make the change from the printed note without even being asked. Some conductors insist on playing what is written in the copy. I think most listeners would prefer to hear the more familiar phrase.
I would love to hear the soloist adjust his part to fit the flautist - then everyone else would be in total confusion.
HS
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