An album of ageless significance
Hiram Gomez Pardo | Valencia, Venezuela | 04/16/2008
(5 out of 5 stars)
"I should submit that Earl Wild and Michael Ponti certainly represent the last exponents of the great Romantic tradition.
In the case we deal, Earl Wild is one of these unforgettable lion pianists, who was a true exception witness along the last Century, not only due his countless and successful performances along the five continents, but his devoted dedication to Liszt piano works (that deserved him a medal in 1986 a propos Liszt centennial) but his impressive range of emotions, vivifying pianism, superb technique and that zealous fingering that has allowed him to make remark those unsaid voices from the score, through his outstanding artistic nuance and always unerring flair, notable elegance free of conventionalisms.
In this sense, this album may be regarded as one of the most important ones into his prolific trajectory, because he dates us back two always forgotten names of the literature for keyboard, two Polish composers: Paderewski and Scharwenka.
After you listen Paderewski `s Piano Concerto Op. 17 you will understand why this is the most extraordinary and memorable version ever recorded : soloist and director were really committed with this lovable work that might be regarded as the last Romantic Concerto in the best meaning of the term. Lyricism, febrile imagination and undeniable expression shake hands to reveal us so many details into the score as I never heard before. Needless to say Artur Fielder is impeccable as director with the London Symphony .
The Polonaise fantasy is another emblematic gem of this notable composer: following the great tradition of his contemporary Frederic Chopin, the piece has moments of sumptuous lyricism and flamboyant poetry.
But to my mind the jewel of the crown of this double album was Xaver Scharwenka's Piano Concerto No. 1, Op. 32. Wild really captured with all its enigmatic splendour, remarking every little passage with ardent passion and tonal exuberance. It might be said he really illuminated the score achieving a total identification with the spirit of the work. Erich Leinsdorff showed us once more why he will be more reminded as accompanist director than soloist (Keep in mind his impressive collaboration wuith John Browning in the set of Prokoviev's piano concertos). After listening this concerto, one keeps wondering it's so overlooked for most pianists in these ages.
So please, if you are a real music lover and you still have not got close to this album, it's time for you to acquire it . Once you hear it you will agree not only its supreme perfection in what level performance concerns. Besides kudos for the sound engineers of this label that made a sate of art re-mastering process.
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Was there any remastering?
L. Ackerman | Ashburn, VA (USA) | 06/08/2008
(3 out of 5 stars)
"Surely these are excellent performances; and wonderful repertoire. But the sound is so unbelievably hissy and harsh.
Since there is no excuse on years or venues, I can only assume that the remastering (it says 24-bit!) has been done poorly. Oh, well.
Worthy anyway, but audiophiles beware."
