Search - Johannes Brahms, Wolfgang Amadeus Mozart, Karl Böhm :: Brahms: Piano Concerto No. 2 / Mozart: Piano Concerto No. 27

Defintely One of the Very Best Brahms

BLee | HK | 08/27/2004

(5 out of 5 stars)

"I would echo what the other reviewer said of this record: this is definitely one of the best Brahms if not the very best. And this is so on the account of both the painist and the conductor. Meanwhile, I have heard a few other perfomances side by side including Arrau/Haitink, Gilels/Jochum, Brendel/Hintink and even Karin Lechner/Marturet etc.



This was not the only collaboration between Backhaus and Bohm even on Brahms No. 2. Here Bohm is most extraordinary, not only his Brahms but also his Mozart, so that both pieces in both parts are equally inspiring. The balance between the piano and orchestra is by far the best and there is a special chesmistry between the two, so that there is a lot of poetry on top of music. Suffice to say that this record offers a most gratifying musical experience that is now almost extinct.



There is a saying that if we are looking for excitement from Brahms, one should turn to his Hungarian music, or perhaps to a lesser degree his No. 1 Piano Concerto written some twenty earlier, at a time when Schumann passed away and he himself in a turmoil. No. 2 we is essentially involved with the inspirations he incepted from the beauty of the Alps when he was approaching 50: when he was steady and mature enough. Well, perhaps such background doesn't show, and doesn't count at all: great music is open to all kinds of interpretation after all.



Yet in view of such a background, criticism against Arrau's tempo or overall approach is hardly sustainable. The truth is, the performance as quoted is most satisfying, a perfect model for exams and competitions. Note particularly his beautiful tone, and his phrasings, so much so that all his notes are meaningful, each one of them, quite ready for first instance digestion. There was renowned Russian conductor who found Richter "oppressive" and in Arrau a living Brahms years after he had accompanied both pianists on Brahms.



Gilels wasn't quite as "oppressive" as Richter albeit both were demanding, each in their own way. But the emphasis on the whole range as well as on each and every voice on the piano, armed with his sheer masculinity. That often put Jochum in a awkward position. Being a authoritative Bruchnerian, Jochum knew full well what this masculinity is about. Probably he did not quite agree with the pianist, and he was so busy rounding off such effects with the orchestra- and he has done it with so much grace. With respect, Brendel/Haitink is the least satisfying of all, that is to say including Karin, who simply lacks masculinity.



However, take note that not everyone would readily appreciate Backhaus' greatness right away. His playing ( or recreation if you like) often baffles you at first, posing a lot of questions to you. It at first puzzles one as to why Mozart Concerto no. 27 was to be played that way, and even more so his Brahms. And the result is, we have to go deeper and deeper into the score and the background etc.



But the remastered sound is really superb so that you will clearly hear the grandioso sound of the Bosendorfer he was playing, and you will note the subtle balance of his left hand part and when the pedel was on and the effects that he was painting etc.



It is also noteworthy that Martha Argerich (Gulda's pupil), after she has become one of the world's top most pianist, remarked that she particularly found Backhaus amongst all recorded masters of the piano instructive ( not Rubinstein, not Richter.) And Idel Biret ( famous Naxos artist & Kempff's pupil) finds Backhaus' Brahms the golden yardstick.



Last but not the least, the record is IN STEREO. So are Backhaus' Decca Beethoven Sonatas ( all with the exception of one ). The recorded sound of the sonatas are almost, but not quite as good as this one as remastered."

One Of The Finest Recordings Of Brahms' 2nd Piano Concerto

John Kwok | New York, NY USA | 12/24/2001

(5 out of 5 stars)

"I am grateful to Decca for combining both recordings of the final piano concerti composed by Brahms and Mozart; the Brahms is one of the finest I have heard. Wilhelm Backhaus demonstrate why he was one of the most acclaimed pianists of his generation, performing with much power, yet capable of ample tenderness when the score demanded it. I'm greatly impressed with his superb technical brilliance, which he maintains throughout both dramatic performances. In Karl Bohm he found a superb accompanist, who leads the Vienna Philharmonic in one of its usual warm, vibrant performances. There is ample splendid chemistry amongst Backhaus, Bohm and the orchestra. And yes, the sound quality is surprisingly superb, inspite of the age of the original analogue recordings."

Gorgeous Mozart and autumnal Brahms

Anton Zimmerling | Moscow, Russia | 10/13/2008

(5 out of 5 stars)

"This extraordinary CD features fine studio recordings of two famous piano concertos played by the great German pianist Wilhelm Backhaus (1884-1969): he is accompanied here by Karl Boehm/Vienna PO. Boehm was probably not the best conductor of the XX century: his manner was at times heavy and brutal, and the orchestral sound lacked clarity - this is occasionally noticeable in Brahms' concerto on this CD. Despite of all this, Boehm was a serious and deep musician who had an affinity with Backhaus' approach to German classics. Their collaboration was fruitful and Decca's choice of Boehm in these recording is fully appropriate.

Brahms' 2nd concerto is often called 'the concerto of all concertos' and Mozart's last concerto is held in high esteem, too. Both Backhaus' recordings on this CD are great and I don't want to miss any of them. However, if I were to choose just one, I vote for Mozart: Backhaus's touch is just so gorgeous and his playing so natural! Many pianists put up for show how deeply they feel Mozart's music and how sweet they play it. Backhaus did not curry favour with listeners and did not emphasize his virtuosity down the drain - and he was a great virtuoso. That's why his Mozart style was so organic.

Both Backhaus and Boehm were younger to the time of Mozart's session (1955) than when they tackled Brahms for the last time (1967). This can be felt. I do not mean that Backhaus is struggling with technical difficulties - he is in an astonishingly good form given his age - but the overall approach to Brahms's 2nd concerto is recessed and less energetic than in the previous recording of the same music made by Backhaus and Boehm in 1939. To my mind, the best achievement in this 1967 stereo remake of Brahms' concerto is Andante: Backhaus plays it slower and more heartfelt than in the previous versions.

It is amazing that the producer of the 1967 Brahms recording, Ray Minshull, recollects in the liner notes to this CD that he has been a big fan of the previous Backhaus' recording of the 2nd concerto made in 1952 and 'wore out two copies of the mono LP' before he applied for a job to Decca. That mono LP certainly deserved idolizing - it is simply the greatest recording of the 2nd concerto all way round. Backhaus is joined there by conductor Carl Schuricht who was an equally serious musician as Boehm but had a far greater command of an orchestra. And in 1952 Backhaus was fifteen years younger than on this CD!

Buy this CD and enjoy it but if you love Brahms and Backhaus try to get the mono version with Schuricht: it is available on Schuricht's 5 CD-set (Decca 475 6074)- you will find there some other absolutely first-rate recordings of Beethoven and Brahms."