Search - Johannes Brahms, Fritz Reiner, Chicago Symphony Orchestra :: Brahms: Piano Concerto No. 1 [Hybrid SACD]

Disappointing performance, skip this one

Brian H. Williams | Manteca, CA United States | 07/09/2005

(2 out of 5 stars)

"This is one of the oldest recordings in the Living Stereo reissues on SACD. This is the best this performance has ever sounded. Transfered from the original two channel tapes, the sound is incredibly natural and spacious for 1954. Rubinstein, known for his Chopin, tackles the Brahms. It's an above average performance, but Rubinstein doesn't plunge the intense depths of tragedy the same way that Curzon with Szell does. His performance is good, but doesn't have the searing emotions that Curzon and Kapell (with Mitropolous) give to this work. Reiner adds a few minor re-orchestrations in the score, namely the timpani upon the entrance of the basses in the first two minutes of the 1st movement. Reiner's french horns are severely underpowered compared to Szell and the London Symphony Orchestra. You can barely hear them in some parts of the recording. The strings of the Chicago Symphony pale to the London Symphony. Plus the Decca engineering is superior to RCA. And this is just a standard cd issue too. All in all, an average performance that doesn't come anywhere close to Curzon and Kapell. Running a direct comparison between Kapell, Rubinstein sounds so dull and boring, with no searing insights or penetration of the score. Brahms is clearly not his forte. His performance doesn't grab your attention the way Kapell and Curzon does. Reiner's conducting is tightly controlled (as expected) but doesn't allow for the tragic discourse unfold in a suspenseful or interesting manner. Just listen to Szell and hear what's missing. The huge orchestral climax in the middle part of the first movement, where the the brass come right before the piano reintroduces the main theme of concerto, lacks the punch and impact that Szell provides. One has to wonder if Reiner was bored with the performance. Avoid this one. There are plenty of other great RCA Living Stereo SACD re-issues. This isn't one of them.

"

Brahms Without the Beard

Hank Drake | Cleveland, OH United States | 03/24/2006

(5 out of 5 stars)

"The Brahms D minor Concerto is a difficult work to pull off successfully: the piano part is ungrateful, and often drowned out by an overorchestrated accompaniment. Also, many pianists--most notably Glenn Gould--tend to drag the tempos beyond all reason. Rubinstein, who was ten years old when Brahms died, would never have considered such a nonsensical approach. The Concerto was written early in Brahms career, and was the work of a passionate young man. In essence, Brahms without the beard.



This is the first stereo recording, taped in 1954, to be made of this Concerto. (The stereo version, however, was not released until 1977). It says something for the original producer, RCA's legendary Jack Pfeiffer, that with SACD remastering the sound holds up very well. The performance is excellent also, with superb accompaniment from Reiner, the very antithesis of the dragged out, boring approach that has recently tested concert audiences' endurance. Although over a half century old, this is still one of the very few "essential" recordings for any Brahms collection, along with the Fleischer/Szell and Serkin/Szell performances.



It would have been nice if RCA included some of the solo Brahms pieces Rubinstein recorded in 1959 (they were also part of the Living Stereo series), as this disc is not well filled. But for those who prefer quality over quantity, this disc is a must."

All that could be asked for

Paul Bubny | Maplewood, NJ United States | 07/06/2005

(5 out of 5 stars)

"Apparently the first-ever release of this 1950s classic in RCA's Living Stereo CD (and now SACD) reissue series, this collaboration between Artur Rubenstein and Fritz Reiner has all of the fire AND sparkle demanded by the more angst-ridden of Brahms' two piano concerti. Here and there the recording shows its age, but the magnificence of the music-making here transcends any minor sonic limitations."