BaL 2.11.13 - Brahms Piano Concerto no. 1 in D minor

[Black Swan]

I did find the program interesting. I do not often listen to Brahms. In my youth, I did acquire several recordings. For me I prefer the 2nd Concerto to the First. I have the Gilels recording of the 2nd that has and does serve me well. For the First I have Ashkenazy/Haitink Concertgebouw which is enough for me. I won't be running out to acquire another recording as I don't listen enough to warrant it.

[amateur51]

However, the interesting avenues for exploration, for me, were Serkin/Szell and Bishop/Davis

wouldn't mind hearing some more of that performance on the Erard by Hardy Rittner too

[Nick Armstrong]

I don't quibble with the fact that Brahms was young but bearing in mind the first movement was conceived as a symphony and what we know of Brahms feelings about writing a symphony after Beethoven does not mean that isn't an epic work - it is a very long concerto for its time .

[Andrew Preview]

The interesting record this morning for me was the Kovacevich/Davis. I have and love his later recording with Sawallisch and shortly after that came out saw him play the concerto magnificently at the RFH but I think I might have to add the Davis- the extracts played sounded very special indeed .

My personal favourite recording of this work, marginally preferable to his later disc with Sawallisch.

I have Freire's recording too. It's good, with an excellent orchestral contribution. But I find Freire a bit too plain - lacking a little fire in the most dramatic moments, and less tender and reflective than he might be elsewhere.

[muzzer]

I have the Serkin/Szell and it's cheap at the price.

[Barbirollians]

I have the Serkin/Szell and it's cheap at the price.

As is their account of the Second Concerto.

[pastoralguy]

Is anyone familiar with an RCA version with Roger Woodward with Masur and the New Philharmonia? That was my introduction to this amazing work but I suspect it's not made it to cd.

[Petrushka]

It's tough on Harriet Smith that the Bal format allows her just 45 minutes to discuss a huge number of recordings and it's inevitable that cherished versions are going to be discarded with a word in order to allow her to concentrate on those she considers worthy of attention. Equally inevitably, the wrong choice of word is going to come across as arrogant as she wants to quickly push on.

I didn't listen to this BaL - Saturday mornings are impossibly busy - but I have to say again that the format needs looking at where there are such a huge variety of recordings of a cornerstone of the repertoire and so little time in which to discuss them in a reasonable way. I'd suggest that some elimination occurs pre-programme and that, say, half a dozen runners and riders are discussed in a little more depth and that a couple of these are recommended.

People will still be upset that long-cherished versions never even made the first cut but let's not forget that the description of the programme is a personal recommendation.

[pastoralguy]

I seem to remember that each portion of the 'Ring' cycle was was allotted an hour so perhaps 'mammoth' Bals could be allotted a wee bit longer. And, yes, it is a personal choice as Petrushka points out. There's no law that says one has to throw out ones cherished favourites along with the teddy from the cot. (Unless Ida Haendel is involved...)

[PaulT]

The word "epic" was used earlier and I have always viewed these two Brahms concertos as epic works. I suppose having been brought up on Curzon and Backhaus' interpretations perhaps that is inevitable. Unfortunately I thus find lighter - weight interpretations less approachable. I bought the Gilels/Jochum set of both recently to see what all the fuss was about and I'm still wondering. My loss perhaps.

[Nick Armstrong]

perhaps 'mammoth' Bals could be allotted a wee bit longer.

I suppose these days we must just be thankful that the almost nonsensical half-hour allotted to 'Ballo in Maschera' appears to have just been a blip...

[Alison]

I will seek out further reviews of the Stephen Hough version under Wigglesworth. Not due until the end of November.

[aka Calum Da Jazbo]

has any one heard, or does any one have a good word for, the versions by Barenboim? the no further reference was verging on an insult or imbroglio of bad feeling ....

Barenboim 1991 Munich Phil Celibidache

Arrau Concergebouw Haitink

Kempf Staatskapelle Dresden - Franz Konwitschny.

and my thanks for the correct quotation, far more telling than my paraphrase; the impatience of anger ... mea culpa

[Thropplenoggin]

It's tough on Harriet Smith that the Bal format allows her just 45 minutes to discuss a huge number of recordings and it's inevitable that cherished versions are going to be discarded with a word in order to allow her to concentrate on those she considers worthy of attention. Equally inevitably, the wrong choice of word is going to come across as arrogant as she wants to quickly push on.

I didn't listen to this BaL - Saturday mornings are impossibly busy - but I have to say again that the format needs looking at where there are such a huge variety of recordings of a cornerstone of the repertoire and so little time in which to discuss them in a reasonable way. I'd suggest that some elimination occurs pre-programme and that, say, half a dozen runners and riders are discussed in a little more depth and that a couple of these are recommended.

People will still be upset that long-cherished versions never even made the first cut but let's not forget that the description of the programme is a personal recommendation.

[Thropplenoggin]

I seem to remember that each portion of the 'Ring' cycle was was allotted an hour so perhaps 'mammoth' Bals could be allotted a wee bit longer. And, yes, it is a personal choice as Petrushka points out. There's no law that says one has to throw out ones cherished favourites along with the teddy from the cot. (Unless Ida Haendel is involved...)

Goodness, gracious, mammoth BaLs of fire!