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Genre: Classical Music
Media Format: Compact Disk
Rating:
Release Date: 4-APR-2006
CD Reviews
Instant Definitive Recording!
C. Escamilla | 04/05/2006
(5 out of 5 stars)
"I had extremely high expectations for this recording considering the fine quality of Zimerman's playing and the new level to which Sir Simon has taken the BPO in the last few recordings he released with the group(Debussy, Dvorak, Schubert, Strauss). However, no matter how high my expectations were, this recording far exceeded them. I was blown away by the vehement intensity of the first movement. The power with which Zimerman plays perfectly matches that of the greatest orchestra in the world. However, never lacking in gentle lyricism, Zimerman plays the second movement with a grace the like of the controversial Curzon/Szell recording. Zimerman's trills in the cadenza of this movement gave me chills, and the intensity in the recap of the A section from him, and the low strings of the orchestra, is unparalleled. The third movement has all of the emotional quality necessary, and the clarity of Bach's 48(after which Brahms modeled this movement's contrpunctal theme). It made me wish Zimerman had some Bach recordings, and maybe he will someday. Rattle's clarity of line, and the warm, rich, and deep sound he got from the orchestra were fresh and alive and seemed to say to his critics that he has finally found his "sound" with the BPO. This recording is an instant classic and should be on everyone's shelf!"
Shivers!!!
Ryan Morris | Chicago, IL | 04/13/2006
(5 out of 5 stars)
"The first mvmt actually sent shivers down my spine, something that has not happened to me while listeing to this work in a long time. I believe Zimerman to be one of the, if not the, most relieable virtuso in classic music today, and this disc was beyond the high expectations I had already set. But it wasnt Zimerman's playing that sent shivers through me, it was an orchestral moment, superbly played by Rattle. His pacing is slow and full bodied, letting the music's powerful energy accumulate till it almost explodes, actually, it does explode making this the single most exciting Brahms first I have ever heard. I cannot think of a concerto that is so wholly dependent on its orchestral part to be a success, and this is just another example of how Rattle is, despite my earlier reservations, completely in control of his vocation. I think this is the most successful thing he has eever done. Esp the first mvmt.
Regarding Zimerman, this disc couldnt be more different than his previous Rach 1 & 2 disc. Most likely it is due to Rattle, but he seems as excited and committed as I have heard him, while the Rach, though very good, seemed to be very inhibited and at times almost boorish. For any Brahms lovers out there, this disc is a must, and hopefully you will hear what I did which gave me those feelings I had while listening to this works wonders for the first time. Not to be missed!
Ref-Fleisher\Szell
Of interest-Arrau's tone in his first on the anniv box."
A Brahms Piano Concerto No. 1 to Vie with the Best
Grady Harp | Los Angeles, CA United States | 05/16/2006
(5 out of 5 stars)
"In this very fine new release the great numbers of fine recordings of the Brahms Piano Concerto No. 1 have stiff competition! Though doubtless we each have our 'favorite' recording of this mighty piece, take note that this is one performance that should be added to everyone's library.
Krystian Zimerman plays like a man possessed - not demonically, though he does know how to plumb those depths, but as a pianist who innately understands the grand architecture of this work. He produces more sound from the piano than is reasonably possible and yet in the lyrical second movement he literally reduces his tone to a whisper. His technique and his interpretation are wondrous.
Sir Simon Rattle conducts the Berlin Philharmonic with not only a romantic fervor but also a keen ear for communication with the soloist. Not knowing how many times these two fine artists have collaborated, it would seem that they have performed this work frequently to gain such a unified approach.
The acoustic of the recording is excellent technically, giving all the more reason to applaud this very superb new recording. Recommended without hesitation. Grady Harp, May 06"
* * 1/2 Zimerman overthunk this recording
John Grabowski | USA | 07/28/2007
(3 out of 5 stars)
"The first problem with this performance manifests itself in the third bar of the piano entrance: Zimerman preciously slooows down the last phrase of his opening. While rubato is common, of course, this stress point comes at the very beginning, and to my ears it's not yet *earned.* Nothing's happened yet, but already Zimerman is highlighting the "drama." What drama? It's as though a character enters the first scene of a play already comes on stage chewing the scenery. And that in a nutshell describes what's wrong with this performance. The drama feels forced, studied. Beautifully-played, with some fine moments (the beginning of the development in the first movement, the extremely warm, almost prayerful sound of the orchestra in the adagio just before Zimerman starts banging away ham-fisted with his return), this is still not a very remarkable performance, especially when it swims in a sea with the likes of Gilels/Jochum, Kovacevich/Davis, and Curzon/Boult.
But both Rattle and especially Zimerman peel the layers of the onion a bit too much, instead of living the music and bringing things to a simmer and then a boil. And baby, does this work ever need to boil. But the performers are too busy counting granules of spice rather than stirring the pot and savoring the dish. There's a little too much lin-ger-ing, too many instances of de-li-ber-ate phra-sing. And there are times, such as the counter theme of the first movement, where Rattle tries to slow things down so much that we seem to get into a timeless, tempoless place, a Furtwanglerian spirituality--except that he can't pull it off like Furtwangler could. The result sags rather than induces reveries. Someone else here said this is a more lyrical and subdued PC1. Except, other conductors have pulled off this type of idea better.
In the liner notes Zimerman states that he listened to 80 recordings of the concerto before embarking on this project. (I didn't know there were that many, unless he also has private performances in his collection.) Maybe that's the problem. Sometimes it's best to think less and feel more. The three stars are mainly for superb orchestral playing from the Berliners and isolated sparking moments. With so many great recordings of this on my shelf, however, it remains to be seen if this one will stay there. [Post Script months later: it hasn't.] I really feel bad giving 2 1/2 stars to one of the greatest pianists playing with one of the greatest conductors and one of the greatest orchestras in a work all of them seem born to play, but that's about all the enthusiasm I can muster. The recent Nelson Freire/Riccardo Chailly/Gewandhaus Orchestra recording on Decca, free-spirited with lots of give-and-take, blows this out of the water--in large part because they were *playing* while Zimmie and Rattle were thinking."
Track Listings (3) - Disc #1