Brahms: Piano Concerto no 1 / Curzon, Szell

Editorial Reviews
Amazon.com essential recording
This version of Brahms's massive First Concerto was an instant classic when released in 1962 and recommending it now is still a no-brainer, especially in this effective remastering. Curzon gets to the heart of the music. He captures the high drama of the symphonic opening movement, and his rapt concentration makes a profound effect in the Adagio, famous for his controversially slow tempo. Szell is his equal here, conducting with passion. The way he screws up the tension in the orchestra's opening statement and then, through judicious rubato and a warming of the string tone, makes the second subject come alive is a mini-lesson in great conducting. With Boult, Curzon's Franck is on a similarly lofty plane, and the Litolff is a worthy filler. A best buy. --Dan Davis

Tracks:

Piano Concerto No. 1 In D Minor, Op. 15: I Maestoso
Piano Concerto No. 1 In D Minor, Op. 15: II Adagio
Piano Concerto No. 1 In D Minor, Op. 15: III Rondo: Allegro ma non tropo
Symphonic Variations For Piano & Orchestra
Concert symphonique No.4 Op.12: Scherzo

Amazon.com essential recording

This version of Brahms's massive First Concerto was an instant classic when released in 1962 and recommending it now is still a no-brainer, especially in this effective remastering. Curzon gets to the heart of the music. He captures the high drama of the symphonic opening movement, and his rapt concentration makes a profound effect in the Adagio, famous for his controversially slow tempo. Szell is his equal here, conducting with passion. The way he screws up the tension in the orchestra's opening statement and then, through judicious rubato and a warming of the string tone, makes the second subject come alive is a mini-lesson in great conducting. With Boult, Curzon's Franck is on a similarly lofty plane, and the Litolff is a worthy filler. A best buy. --Dan Davis

Customer Reviews:

A classic performance.......2007-06-11

Curzon's performance of the second movement of the Brahms is imaginative and astounding. Its slow tempo nearly deconstructs the piece, gives you time to think about how it works. It makes you think of Ucheda's performance of the Mozart Adagio, a slow dreaminess. The rest of Curzon's performance is also masterful, but Movement 2 is worth the price of admission and is a good bid for an immortal performance

A modest virtuoso scores a triumph.......2006-08-24

Agreeing with all the accolades heaped on this 1962 recording of the Brahms First Concerto is easy, but not many reviewers here have captured what makes this performance special. Clifford Curzon never relied upon power and flash; he was a modest man and a scrupulous musician steeped in European style. His Brahms First is magical because he finds a sensitive, lyrical way of phrasing every bar. Instead of crashing and bagning, which even the best pianists are tempted to do in order to compete with Brahms' thick, overbearing orchestration, Curzon plays forcefully but without excessive bravura.

This proves a triumphant way to approach the thorny first movement, even in a field where sensitive readings from Barenboim and Fleisher, among others, also avoid showmanship and keyboard bagning. Curzon profound, inward reading is aided by Szell, who reins in the orchestral part--there's no attempt to make the noisy opening of the first movement storm the heavens. I'm grateful to discover such a singing performance, which has been captured in amazingly natural, life-like sound by Decca.

This is the one to get.......2006-02-18

After you've listened to this CD fifty times, you might want to try the Alfred Brendel/Claudio Abbado CD, just for variety. Until then, don't bother with anyone else. Curzon takes the slow movement much slower than even Gilels dares to do, and manages to make it work as though nobody would ever consider a faster tempo. Szell makes a brief escape from the clutches of Columbia's engineers. It's all here. This is the penultimate rendition of this gripping concerto.

Stunning Brahms First Piano Concerto.......2002-12-18

I agree with all the rave reviews about this classic recording of Brahms First Piano Concerto. But so far no one has mentioned the technical aspect of this recording which makes it so stunning. If you are used to the Columbia recordings of Szell/Cleveland made in Severance Hall, you will be shocked by the close miking of the piano and the orchestra in this recording. The result in an "in-your-face" musical experience that is simply compelling - it is impossible to listen to it and remain disengaged. A worthy addition to any collection, even if you have other recordings of this great work.

Top honors to Curzon/Szell in my book.......2002-07-25

I think I've reached the point where I enjoy this product of Brahms' youth as much as his later Second Piano Concerto. This performance by Curzon and Szell stands at the head of the class, and CLASS is the perfect description here. I'm familiar with two other versions of this Brahms work that Szell recorded some time ago as well, with Leon Fleisher and Rudolf Serkin. While both of these pianists perform extremely well, Curzon moves to a higher level. He provides the nimbleness of Fleisher AND the sturdiness of Serkin, but he offers greater suppleness, repose and refinement. His lovely phrasing is more imaginative and he is more musical in his playing. The greater musicality is often manifested in the range of sonority he displays in fleshing out notes, particularly in the second movement. Though Fleisher might play with more abandon in the final movement, my overall experience with Curzon is simply more enjoyable. George Szell is superb as well, as he is also in both of the other recordings. Frankly, I own and enjoy all three of the Szell-led renditions, but if I had to go with one it would be the Curzon, though I do like very much the raw power of Serkin/Szell. And, no, I do not care for the style exhibited by Gilels/Jochum (in either the First or Second Concerto) that others have raved about. For me, their pace is frequently too slow.

Average customer rating:

Great remastering of a deserved classic

Brahms: Piano Concerto No. 1

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Tracks:

Pno Con No.1 d, Op.15: I Maestoso - LPO/George Szell
Pno Con No.1 d, Op.15: II Adagio - LPO/George Szell
Pno Con No.1 d, Op.15: III Rondo-Allegro Non Troppo - LPO/George Szell
Sym Var For Pno & Orch - Clifford Curzon
Scherzo - Clifford Curzon

Amazon.com

Another of the great performances of this concerto, György Szell's accompaniments are as pointed and urgent as ever, while Sir Clifford Michael Curzon's contribution is compellingly aristocratic. Of all the great piano concertos, this one is the hardest to do well. It is very long, very difficult, yet totally lacking in the kind of virtuoso fireworks that are the concert pianist's bread and butter. More to the point, the opening theme of the first movement, which sounds splendidly angry played by the orchestra, sounds like some silly, bar-room honky-tonk on the piano. Of course, Brahms actually played piano in bars along the Hamburg docks for years, so maybe something rubbed off...? Anyway, suffice it say that it's not easy music, and these guys really know what they're doing. --David Hurwitz

Customer Reviews:

Great remastering of a deserved classic.......2006-08-24

David Hurwitz makes some silly comments in his Amazon review, but he's on target about ow good this CD is. Agreeing with all the accolades heaped on this 1962 recording of the Brahms First Concerto is easy, but not many reviewers here have captured what makes this performance special. Clifford Curzon never relied upon power and flash; he was a modest man and a scrupulous musician steeped in European style. His Brahms First is magical because he finds a sensitive, lyrical way of phrasing every bar. Instead of crashing and bagning, which even the best pianists are tempted to do in order to compete with Brahms' thick, overbearing orchestration, Curzon plays forcefully but without excessive bravura.

This proves a triumphant way to approach the thorny first movement, even in a field where sensitive readings from Barenboim and Fleisher, among others, also avoid showmanship and keyboard bagning. Curzon profound, inward reading is aided by Szell, who reins in the orchestral part--there's no attempt to make the noisy opening of the first movement storm the heavens. I'm grateful to discover such a singing performance, which has been captured in amazingly natural, life-like sound by Decca.

Note: This same coupling and remastering can be had in Decca's Legends series. I'd go for the cheapest copy I could find on the used market.

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