Johannes Brahms Andre Previn Royal Philharmonic Orchestra - Brahms Piano Concerto No 1 (4 tracks) +Album Reviews

I was surprised

Robert L. Berkowitz | Natick, MA United States | 01/02/2003

(5 out of 5 stars)

"I do not yet own this recording, but I heard it on the radio. I expected to listen only until the end of the first movement, but I was drawn in and listened until the end.I am not an unqualified fan of Gutierrez's playing. I have regarded him as a "warhorse" pianist without much musical depth. My criticism is silenced by this performance. Gutierrez's playing was beautiful throughout. There was nothing brash or sensationalistic about his playing. Probably the most impressive aspect of this recording is the ensemble between Previn and Gutierrez. Previn pulled a sumptuous sound from the Royal Philharmonic, and highlighted details not typically heard in other performances. He supported Gutierrez beautifully throughout the performance, and there was a sense of camraderie between pianist and conductor that found its way into this recording.I am surprised to say that I would recommend this recording highly, and I won't hesitate to recommend it to anyone."

Superb performance.

D. R. Schryer | Poquoson, VA United States | 07/15/2002

(5 out of 5 stars)

"Although not as well-known as he desrves to be, Horacio Gutierrez is one one the finest pianists of our time. He is particularly skilled in giving genuinely artistic performances of so-called "warhorses" from the Romantic period. This recording of Brahms Piano Concerto No. 1 is an excellent example of Gutierrez in top form. His virtuosity is staggering, but so is his artistry and, thus, this performance is incredibly beautiful. If you are not yet familiar with this graet pianist -- or you just love great piano playing -- please get this recording. It really is superb."

Great concerto, great performance

Timmy | New York, Ny United States | 12/14/2001

(5 out of 5 stars)

"The first time I heard this piano concerto, I felt a little disgusted. It was so fierce and angry, with its constant dissonant trills and tremolos. In addition, the piano part played even less of a soloists role than in the Mozart or Beethoven concertos- it was completely meshed into the fabric of the orchestra. As I continued listening to it, however, and learning to appreciate Brahms uncompromising musical language, I began to see this work as a profound statement of sadness (it was written after the death of his dear friend Robert Schumann).
The first movement of this concerto is very long, and very imposing. A piece filled with countless chilling moments, its emotion is (in my opinion) heightened by its organization into sonata form. I would like to describe two of the most dramatic moments: 1) the retransition from development into recapitulation where piano and orchestra alternate fortissimo syncopated chords, and 2) the piano's entrance, in quiet ominous sixths, and its repetition by the strings near the close of the piece. The movement closes in despair. This is in direct contrast to the second movement, a very spiritual and tranquil adagio. The concluding rondo seems to have been patterned after the rondo from Beethoven's 3rd piano concerto. It has a very long opening theme followed by a lyrical one in the major. A highlight in the middle of the piece is a string fugue based on the opening theme of the work The piece ends in an uplifting manner in the D-major, using motifs from the opening movement. This piece, as well as the Tragic Overture for orchestra, is played in a very bold and powerful manner. Guttierez is a powerful pianist, perfect for the work of Brahms."

Great Brahms!

Roger W. Wood | Jacksonville, Florida | 11/24/2009

(5 out of 5 stars)

"I have been really enjoying the later (late 80's- early 90's) Andre Previn recordings of Brahm's music with the Royal Philharmonic: the 4th Symphony, the Academic, the Tragic, the Variations on a theme by Haydn, and the two piano concerti with Horacio Gutierrez, the Cuban-American pianist. In these recordings I was introduced to Gutierrez for the first time. Since I was not familiar with his life and work, I did not know what to expect. He did creditable, good work on the Brahms concerti. While not an Ashkenazy or Gilels, his style reminds me very much of Arthur Rubinstein's.

I did not have any idea how Previn would work out on Brahms, but I read a positive review , decided "Shoot! I'll try it," and have been very pleasantly surprised by these nice recordings. Whereas Previn's early Brahms conducting with the LSO was held by many to be superficial, I did not know what these Telarc recordings with the RPO would hold. These represent another season in Previn's career after the LSO. But friends, if these discs are any indication, this man is an excellent Brahmsian. I don't give that credit to many - maybe Giulini, Celibidache, Bohm, etc. I got them all through Amazon.

In these recordings Previn "gets" Brahms. That was a great surprise for me. I am truly amazed when anybody "gets" Brahms. This is not everyday stuff or not just anybody's music. Previn's conducting of the RPO is excellent. One can tell he has digested this music, even loves this introspective music. The RPO sings Brahms, as if in a lullaby. They sound like Vienna with Bohm or Giulini. Previn's direction is magisterial in this music. The brass is deeply European, and you've got to have that deep brass to play authentic Brahms. It's here! Previn's grasp of this music's complexity, the layered tonalities, the surpassing Brahms' introspective melancholy, and his intuitive grasp of how to pace this great music going forward is deeply compelling and joyfully satisfying.

Let's look especially at a specific interpretative insight. Melancholy. (It is not depression or sadness.) It is a an introspective view on life. Toscanini never did get it, although he and Sir Thomas Beecham were probably the greatest conductors of the last century. (I don't accord that lightly!) They were not great conductors of Brahms. But it is so neat when someone grasps Brahm's melancholy in a positive way. To me it one of the great signs of a serious Brahms' conductor. Not everybody can get there. Or be born there. People who do not understand melancholy call it "DARK" stuff. Brahms is melancholy. Maybe the world's most successful musician/composer composing melancholy. To me there is no one else like Brahms. On a personal level, I identify so much with his music. What joy to find a new Brahms conductor I feel I could go see conduct Brahms in the concert hall.

In the piano concerti, the melancholy is there. In the 4th Symphony, it is there. And in the twin package - the Academic Festival and Tragic overture, it is there. Nobody else is Brahms, and great Brahms conductors are not everywhere. Furtwangler and von Karajan do not do much for me on Brahms. Klemperer is quite good, and now Previn has joined the ranks in these recordings. Welcome Andre. I am looking forward to hearing more from you. And thank you for those great readings.

"

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CD Reviews

	Johannes Brahms, Andre Previn, Royal Philharmonic Orchestra Brahms: Piano Concerto No. 1 Genre: Classical Track Listings (4) - Disc #1 I. Maestoso - Andre Previn II. Adagio III. Rondo: Allegro Non Troppo Tragic Overture, Op.81
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