Wilhelm Backhaus (Pianists of the Golden Era)

1. Transcription for piano of Mozart's Serenade from "Don Giovanni"
Composed by Wilhelm Backhaus
with Wilhelm Backhaus

2. Transcription for solo piano of Mendelssohn's Piano Concerto No. 1 in G minor
Composed by Wilhelm Backhaus
with Wilhelm Backhaus

3. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35
Composed by Johannes Brahms
with Wilhelm Backhaus

4. Widmung (Liebeslied, transcription for piano (after Schumann, I & II), S. 566 (LW A133)
Composed by Franz Liszt
with Wilhelm Backhaus

5. Transcription for piano of Richard Strauss' Stänchen (Serenade) Op.17/2
Composed by Wilhelm Backhaus
with Wilhelm Backhaus

6. Transcription for piano of Kreisler's "Liebesleid", TN iii/5
Composed by Sergey Rachmaninov
with Wilhelm Backhaus

7. Work(s) Unspecified Caprice bohemien (Bohemien Dance) in F major
Composed by Bedrich Smetana
with Wilhelm Backhaus

8. Transcription for piano of Delibes' "Naila waltz"
Composed by Ernst von Dohnanyi
with Wilhelm Backhaus

9. La Danse d'Olaf, Op 33/2, for piano or orchestra
Composed by Riccardo Pick-Mangiagalli
with Wilhelm Backhaus

Tracks:

Fant in C, Op.17: Durchaus Phantastisch Und Leidenschaftlich Vorzutragen
Fant in C, Op.17: Massig. Durchaus Energisch
Fant in C, Op.17: Langsam Getragen. Durchweg Leise Zu Halten
Nachstuck in F, Op.23 No.4
Aufschwung, Op.12 No.2
Widmung, Op.25 No.1
Prld And Fugue No.1 in C, WTC Book 1: Prld
Prld And Fugue No.1 in C, WTC Book 1: Fugue
Prld And Fugue No.21 in B flat, WTC Book 1: Prld
Prld And Fugue No.21 in B flat, WTC Book 1: Fugue
Moment In Musical in f, Op.91 No.3
Impromptu in B flat, Op.142 No.3
Moment Musical in A flat, Op.94 No.6
Son in G, Op.78: Minuetto
Soiree De Vienne No.6
Marche Militaire in E flat, Op.51 No.3

Customer Reviews:

Bravo Maestro- a MUST BUY.......2006-10-04

One of the true piano giants- the Schuman Fantasy is a miracle. Everything else is beautufully molded. There are some embelishments which make the label of "literalist" meaningless refer to the the Lizst piece. He belongs with the great pianists on the Mount Olympus of techique and style. These recordings from the late 20's to early 30's are a complement to his British acoustic recordings and the recordings he made in his mature greatness.

Brahms: Piano Concerto No.2/Mozart: Piano Concerto No.27

Average customer rating:

Addendum to S.A. Thompson's Review of Oct. 2003
THE ABSOLUTE BEST SINCE RICHTER-HAASER AND KARAJAN
One of the Greatest Pianists Ever
Bold and Majestic
does age count?

Brahms: Piano Concerto No.2/Mozart: Piano Concerto No.27

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B0000042E0
Release Date: 1997-07-15

Tracks:

Piano Concerto No. 2 In B Flat Major, Op. 83: I Allegro non troppo
Piano Concerto No. 2 In B Flat Major, Op. 83: II Allegro appassionato
Piano Concerto No. 2 In B Flat Major, Op. 83: III Andante
Piano Concerto No. 2 In B Flat Major, Op. 83: IV Allegretto grazioso
Piano Concerto No. 27 In B Flat Major, K 595: I Allegro
Piano Concerto No. 27 In B Flat Major, K 595: II Larghetto
Piano Concerto No. 27 In B Flat Major, K 595: III Allegro

Customer Reviews:

Addendum to S.A. Thompson's Review of Oct. 2003.......2005-07-08

I agree that this is a wonderful CD; the 2 grand old men were in fine form when they recorded the Brahms. I also concur that the Richter-Haaser/Karajan performance of the Brahms is one of the best ever, but I'm almost certain it was in stereo. I don't have access to my LPs just now, but I can visualize the gold-embossed STEREO banner across the top of the jacket of the Angel red label release. Further, it was issued on one of EMI's cheap CD series within the last few years. Good listening!

THE ABSOLUTE BEST SINCE RICHTER-HAASER AND KARAJAN.......2003-10-27

.
I was delighted to find both Brahms' 2nd and Mozart's 27th, two of my favorites, on the same CD by such a great pianist as Backhaus. I agree with the other reviewers that the Backhaus performance is even better technically than Gilels. When you are into the top 3% of anything, further "improvements" are typically difficult to come by and often just a matter of personal choice and opinion. In my opinion the best performance of Brahm's 2nd ever recorded was done back in the monaural days by Richter-Haaser and von Karajan, but these vinyl early high fidelity disks are now getting difficult to find in decent condition. Richter-Haaser's notes were more lilting in the light hearted places and fairly explosive in the more forceful passages than are those of either Backhaus or Gilels. And Richter-Haaser was in absolutely perfect synchrony with the orchestra, superbly directed by von Karajan.

Perhaps it is more a matter of the artist's interpretation of what the composer intended rather than simple mechanical adherence to the score. I feel that if you can't find a vinyl copy of the Richter-Haaser/Karajan recording, this is the best alternative, and hands down the best in stereo.

One of the Greatest Pianists Ever.......2003-02-10

I'm afraid not even Gilels, not to mention Rubinstein, is quite on the same level with Backhaus.

It's not just the profound understanding of music as could be seen from his playing, even from the technical point of view, few pianists, present or past, have attained the sort of precision and clarity plus flexibility and lyricism as Backhaus did-- few except Busoni, Hofmann, Rachmaninoff, Moriz Rosenthal, Friedman, Simon Barere (the latter quite a category of his own) and a handful more. "Lyrical fantasy" is too much an over-simplication of his greatness.

I recommend readers to look for everything Backhaus played with all my heart. As to Gilels, he had handpicked a disciple more well-known in Russia than elsewhere: Sokolov. But I find another Russian pianist Merzhanov more interesting and more akin to him, the latter being the pupil of Feinberg though.

Bold and Majestic.......2001-10-03

Backhaus, at 83 layed down his last version of the Brahms 2nd concerto. It ranks as possibly one of the greatest versions recorded... Inspired though Gilels is, he hits a number of wrong notes in his performance. Even though, Gilels turns in a great performance, but here you have Backhaus in an even greater recording, without the wrong notes! Not to mention Bohm's outstanding conducting lends Brahms a strong singing line and the same time, peaceful quiet moments, especially in the 3rd movement. The Mozart, recorded earlier, is played with the light, but never lacking in sweetness phrasing that Bohm and Backhaus give. A great cd.

does age count?.......2000-06-24

At 83, Backhaus recorded the Brahms 2nd Concerto with such aplomb amid lovely orchestral backing by Bohm.The Deccas sound engineers did an incredible job for a remarkable performance. The Mozart goes back 12 years and it too has a majesty to rival Rubinstein and Gilels. This CD should please most Brahms fans. I found it almost perfect in its lightness and tempo. Overall I rate it second only to Gilels classic 1972 recording with Jochum as conductor.

Wilhelm Backhaus Plays Beethoven, Mozart and Bach

Average customer rating:

Wonderful live performance from 1966!
The Final Words of Backhaus and it is a Big Breakthrough

Wilhelm Backhaus Plays Beethoven, Mozart and Bach

Manufacturer: Orfeo D'or
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B0000508YU
Release Date: 2000-10-17

Customer Reviews:

Wonderful live performance from 1966!.......2007-05-25

Modern Backhaus recordings are not as plentiful as one might think considering his longevity and productivity as a performer. This disc features works of Bach, Mozart, and Beethoven performed live in Salzburg in the summer of 1966. It is fun to hear the venerable pianist (82 at the time) in recital, playing with palpable enthusiasm and energy. Audience concentration is discernible, too: at the close of Beethoven's Opus 111, for example, listeners sit in silent awe until the Bosendorfer completely ceases to hum...it seems like an eternity!

Listening to this disc really is like sitting in the concert hall's best seats. The sound (mono, though it's not noticeable) is very good. Audience noise is present but not distracting. Even the program notes by critic Gottfried Kraus are interesting.

This little bit of music history is deeply satisfying and highly recommended!

The Final Words of Backhaus and it is a Big Breakthrough.......2005-12-21

Backhaus' Well-tempered clavier here sounds almost like a mixture of a harpsichord and an organ, albeit sounds so natural. His Mozart 281 and 331, like most great artists in their last years, are sublime. It is so expressive, so colourful and dramatic. Mozart was obviously very talkative, albeit there is not one single note too many, as Backhaus's lyricism made it so clear. Furthermore, contrary to the general conception, it abounds with rubato which is quite definitive and decisive. And it is only after hearing him that we will notice how much we have missed by taking Geiseking's rendition. And his Beethoven, particularly his Appasionata, is even more lively and intriquing than his studio recording by Decca a few years back.

But this is a 1966 live but mono recording with some background noise. Furthermore, people who are accustomed to the Steinway sound may not find the piano sound very much to their taste. And in any event, the sound as a 1966 recording is not of particular good quality. But this reperoire is interesting covering these three greatest German composers and moreover it is a very good place to start learning more about the great master of the keyboard even though this is most untypical of Bachaus'usual style.

CARL SCHURICHT Decca Recordings 1949-1956

Average customer rating:

Beautiful early 1950s recordings by an unknown conductor to many Americans
Schuricht's Classic Studio Recordings 1949-56
Carl Schuricht: An Original Master

CARL SCHURICHT Decca Recordings 1949-1956

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000276K3W
Release Date: 2004-08-10

Customer Reviews:

Beautiful early 1950s recordings by an unknown conductor to many Americans.......2006-04-29

Carl Schuricht (1880-1967) may be an unknown conductor to many Americans, but had an active career in Germany, Holland and France from the 1930s until his death in 1967. Schuricht was known to me primarily from his EMI stereo recording of Bruckner Symphonies 8 and 9 with the Vienna Philharmonic. The recordings in this Decca set are MONO, but in very clear, well defined sound. Decca's engineers have done excellent work for this reissue.

Some listeners will know which works are by the Paris Conservatory Orchestra, as their trumpets, horns, and woodwinds have a certain vibrato laden timbre which their American and British counterparts, for example, do not. You either like the Paris Conservatory or you don't, and I DO. Beethoven's Symphony 5; Tchaikovsky's Capriccio Italien, Orchestra Suite No. 3 Variations; Schumann's Symphonies 2 and 3 + Overture, Scherzo and Finale are all by the Paris Conservatory Orchestra in this collection. The other works: Beethoven Symphonies 1 and 2, Mendelssohn RUY BLAS, HEBRIDES, FAIR MELUSINA and CALM SEA AND PROSPEROUS VOYAGE Overtures; Brahms Symphony 2 and Schubert Symphony 8 "Unfinished" are all with the Vienna Philharmonic from the early 1950s.

There is much here to love, even if you have other recordings of these works. Schuricht had a special solidity but was never stodgy or dry. I compare him favorably with Karl Bohm (1894-1981). Recommended, and I have other recordings of all these works, but am glad to have Schuricht, too.

Schuricht's Classic Studio Recordings 1949-56.......2005-04-08

To my mind, Schuricht's sane and very musical conducting always occupied an appealing "middle ground" between the more subjectively romantic way of Furtwangler/Abendroth/Mengelberg and the tougher rhythmic drive of Toscanini and Kleiber. Here is a brief assessment of each CD in this 5-disc collection:

CD 1. Schuricht draws wonderfully disciplined playing from the VPO in this superb Beethoven 1st, which is one of my favorite versions along with the more Haydnesque, gemutlich Weingartner/VPO (best heard on an Opus Kura CD from Japan, coupled with Weingartner's magnificent Beethoven 7th). Schuricht's Beethoven 5th with the Paris Conservatory Orchestra has appeared elsewhere on Italian bootleg labels. The transfer here is vastly superior. This is, to my ears, one of the greatest-ever accounts: it's very straight (lean and mean) and better-played than Schuricht's later recording in his complete Beethoven symphony set (French EMI). Even though Furtwangler remains my exemplar here (his 1943 wartime concert performance on DG and the mellower 1952 account on Tahra), Schuricht's more classical manner is very persuasive. This surely ranks among the finest "straight" 5ths of Weingartner (Naxos), Erich Kleiber (Decca) and Carlos Kleiber (DG). Schuricht's Mendelssohn is well-played, if a bit sober and penny-plain. In the Hebrides (Fingal's Cave) Overture, I still prefer Beecham, Furtwangler, Maag and Fritz Lehmann. In the Ruy Blas, Beecham is simply inimitable. For the Calm Sea and Prosperous Voyage, there was once an excellent version on Columbia LP (England) by Paul Kletzki and the Israel Philharmonic (coupled with a great Scotch Symphony) that deserves to be on CD. My favorite account remains the Lehmann/Berlin Phil., which DG ought to re-issue in a coupling with the Hebrides and the Roloff/Lehmann readings of Mendelssohn's piano concertos.

CD 2. This disc holds two treasurable 2nds of the "desert island" variety. The Beethoven Symphony has a wonderfully trenchant first mvt., a Larghetto with delectable interplay between the VPO's beautifully sweet strings and its plangent winds, a witty Scherzo, and an affectionately slow last mvt. At a length of 7:07, the latter is hardly Allegro Molto (for that you have to hear the brilliant Erich Kleiber on Teldec), but to my ears this is one of the truly classic performances, along with the Kleiber and the outstanding Weingartner (best transfer: Naxos). The Brahms 2nd Piano Concerto with Backhaus is a great collaboration - this pianist was always at his best in Brahms - and the transfer is HUGELY superior to what was (barely) heard in the Philips "Great Pianists" series. It's my favorite account, though I wouldn't be without the exceptional readings by Clifford Curzon/Hans Knappertsbusch (Living Stage) and Sviatoslav Richter/George Georgescu (Dorian, coupled with Richter's only recording of the Handel Variations).

CD 3. Schuricht's gorgeously lyrical, very pastoral account of Brahms' 2nd Symphony is more uptempo than his live Stuttgart account (Archiphon). If I could have only 3 recordings, they would be this Schuricht (excellent transfer!), the Fritz Busch (EMI) and the Furtwangler (EMI). Incidentally, I can't help noticing (in the last mvt., the passage starting at 4:43 here) an odd similarity to the opening of Mahler's 1st (since the opening of Mahler's 3rd is clearly patterned on the main theme of the Brahms 1st's last mvt., I think this may be more than just a coincidence). Christian Ferras' interpretation of the Brahms Violin Concerto reminds me somewhat of Fritz Kreisler's (Ferras also uses the Kreisler cadenza). It's a lovely, small-scale account, and joins a lengthy list of "greats" (e.g., Kreisler/Blech, Busch/ Steinberg, Szigeti/Harty, Martzy/Kletzki, De Vito/Schwarz, etc.)

CD 4. This disc is all Schumann: The Overture, Scherzo & Finale (rather like a symphony without a slow movement), plus the 2nd and 3rd Symphonies. All are with the Paris Conservatory Orchestra, whose billowing brass may be an acquired taste. These are all masterly readings. The CD notes fail to mention that, in the "Rhenish," Schuricht uses Mahler's re-orchestration. My other favorite 2nds (the opening measures so like Haydn's #104!) are the more richly romantic readings by Stokowski (Cala) and Pfitzner (Koch Legacy), and the chastely classical Enescu (Dutton). My favorite stereo 3rd is probably the Leibowitz (Chesky). Hopefully a long-extinct 10" DG LP of the 3rd with Leitner and the Berlin Phil. will achieve a CD transfer: it had the loveliest slow mvt. I have ever heard.

CD 5. This disc is of lesser distinction. Mendelssohn's Fair Melusine Overture receives a sturdy reading that isn't quite on the level of Busch or Beecham. The Schubert 8th strikes me as a mis-fire - it's also available on Schuricht's "Great Conductors" volume on IMG (see my review). And the Tchaikovsky Capriccio Italien is simply no match for the ebullient Kondrashin (RCA).

This Decca set is essential listening, especially for its pace-setting accounts of Beethoven and Brahms. If you would like to hear a broader representation of Schuricht's artistry, you may want to explore his 10-disc set on Scribendum (available at Amazon.uk), which includes stylish accounts of Bach's Brandenburg Concertos, Mozart's 38/40/41, a fine Bruckner 7th, and a very warm-hearted Brahms 4th.

Strongly recommended.

Carl Schuricht: An Original Master.......2005-01-13

Conductor Carl Schuricht has been unfairly neglected over the years, but a recent string of reissues should go to great lengths to remedy that problem. Compiling many of his greatest recordings for the Decca label from 1949-1956, this box set will be a most welcome addition to the shelves of classical music connoisseurs. Unfortunately, this title is not without its problems. While the set claims on its back cover that all of this material, save a 1952 account of the Brahms 2nd Piano Concerto with Backhaus (amazing BTW) and a 1956 Schubert 8th Symphony, are receiving their first international CD release, a lot of this material has been readily available for years. In addition to the aforementioned "Unfinished," the 1954 performance of Mendelssohn's "Hebrides" Overture with the Vienna Philharmonic was recently included in Schuricht's "Great Conductors of the 20th Century" title. Also the 1954 recording of the Brahms Violin Concerto with Christian Ferras is the very same version featured on Testament SBT 1293, and it is an alarming trend, if you ask me, that these "licensed" recordings are starting to appear simultaneously on two labels (see my recent review of EMI's "Great Recordings of the Century" release of David Oistrakh performing Prokofiev's Violin Concertos). Finally, why UNI chose to issue this and the recent Erich Kleiber set in clunky plastic jewel cases, instead of the normal slim paperboard box with paper sleeves for the discs, is beyond me. Overall though, "Original Masters: Carl Schuricht" is another first rate historical reissue from Universal. Schuricht's earlier performances of Beethoven's 1st, 2nd & 5th Symphonies featured here offer a nice contrast to his accounts of a few years later on EMI, and his Schumann -- the 2nd & 3rd Symphonies and "Overture, Scherzo and Finale" comprising CD4 -- is surprisingly good. In fact, I can hardly wait for the next batch of Decca OMs next month!

Wilhelm Backhaus (piano) - Schubert "Trout" Quintet (with the International String Quartet) / Chopin: Waltz in D-flat Op. 64 No. 1; Etudes (Op. 10 No. 2, Op. 25, Nos. 2, 3, 11); Polonaise in A Op. 40 No. 1 / Liszt: Hungarian Rhapsody No. 12 / Brahms: Variations on a Theme of Paganini

Average customer rating:

An indispensable "Trout" for anyone interested in the work's performance history

Wilhelm Backhaus (piano) - Schubert "Trout" Quintet (with the International String Quartet) / Chopin: Waltz in D-flat Op. 64 No. 1; Etudes (Op. 10 No. 2, Op. 25, Nos. 2, 3, 11); Polonaise in A Op. 40 No. 1 / Liszt: Hungarian Rhapsody No. 12 / Brahms: Variations on a Theme of Paganini
Frederic Chopin , Franz Liszt , Johannes Brahms , Anton Rubinstein , Wilhelm Backhaus (piano) , and Andre Mangeot (violin)
Manufacturer: Biddulph Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000001ZFS
Release Date: 1997-12-16

Tracks:

Waltz in D flat, Op.64 No.1 'Minute'
Etude in a, Op.10 No.2
Etude in F, Op.25 No.3
Etude in f, Op.25 No.2
Etude in a, Op.25 No.11 'Winter Wind'
Polonaise in A, Op.40 No.1
Hungarian Rhap No.12
Vars On A Theme Of Paganini
Romance in E flat, Op.44 No.1
Polka in G, Op.
Pno Qnt in A 'Trout': I. Allegro Vivace
Pno Qnt in A 'Trout': II. Andante
Pno Qnt in A 'Trout': III. Scherzo: Presto
Pno Qnt in A 'Trout': IV. Andantino
Pno Qnt in A 'Trout': V. Finale: Allegro Giusto

Customer Reviews:

An indispensable "Trout" for anyone interested in the work's performance history.......2006-10-07

Once again Biddulph must be praised for bringing these recordings back to us. They are important and self-commending stuff for any collector interested in the past masters of the piano and/or early recordings of Schubert's chamber music (which is my case). Indeed this is a particularly significant "Trout"quintet as, if my records are right - which I do not guarantee - it is the first recording ever of Schubert's masterpiece (or at least the first one from the electric era), and as the notes from Biddulph point out, it is also one of Backhaus' rare appearances as a chamber musician.

As for the solo piano pieces, they were recorded in 1916 by a 32-year-old Backhaus. The sound is that of 78rpm from the acoustic era, with surface noise and all, but the piano comes out clearly. They include works, like the Liszt Hungarian Rapsody n° 12, which Backhaus never recorded again. The Chopin Waltz (played with some old-fashioned rubato) and Etude which open the CD are chained together as a single piece, with a few arpeggiated chords to allow for the change of tonality. The Brahms Paganini variations, Backhaus' first of three studio recordings made in the 78rpm era, are incomplete and comprise a selection of only 13 variations from both books, in order to fit on two 78rmp sides.

The 1935 recording of the "Trout" quintet by Schnabel and members of the Pro Arte Quartet has taken such pride of place in the pantheon of music critics and lovers that it has thrown back into oblivion all other versions that existed in the 78rpm era, almost leading one to believe that it had been the only on that medium. Far from it - which is altogether not surprising, given the universal popularity of Schubert's affecting composition. To limit myself to the pre-war years, my list includes Raucheisen and the Leipzig Quartet also from 1928, the London Quartet and Hobday in 1932, Elly Ney and the Strub Quartet in 1936 - and it is probably far from complete. Aside from Ney I doubt that there is any chance to see any of these back on CD, but it is great to be able to have Backhaus' for assessment - if only to gauge if Schnabel's later recording is so distinctly superior to it.

Not always. Where Schnabel does score is in the area of sonics. Overall the 1925 sound is thin and distant, the sonic equivalent of those old, sepia photos forgotten in a chest in the attic: it's like hearing not the actual thing, but recalling with nostalgia a long-gone memory of the thing. But don't get me wrong, it does afford clear instrumental definition nonetheless, and one adjusts easily.

Another difference between both recordings concerns repeats: Backhaus does none except those of the finale, and they are particularly amiss in the scherzo (3rd movement) and even more in the famous "Trout" theme and variations (4rd movement).

Yet, interpretively, both readings actually share much in common, starting a very similar choice of tempo in the opening Allegro, whose timings in both recordings are the same by the second. Though he begins inauspiciously by delaying by a beat the opening chord's right hand A, Backhaus' piano playing is cleaner than Schnabel's, who has a tendency to smear runs and smudge articulation. The feeling is lively and urgent rather than good-natured, though the strings elicit the requisite charm and lyricism. Backhaus' partner, violinist André Mangeot shows nice attention to Schubert's accent marks. In their exchange starting at 1:41 violin and cello produce some decidedly old-fashioned wailing phrasings but I actually find them quite effective in their melodramatic theatricality: Very much a silent movie representation of Pyramus and Thisbe whispering to each other from both sides of their wall. Likewise in the following Andante, Schnabel and partners are slightly more expansive than Backhaus and the International Quartet, but not dramatically so (for modern references, Backhaus is close to Rudolf Serkin's famous 1967 recording from Marlboro, while Curzon and Wiener Octet members in 1957 are more in the Schnabel-Pro Arte vein). In that approach, the rhythms in the 1925 reading have commendable tautness and bite, yet the moving cantilena starting at 1:24 lacks no feeling.

The ensemble then offers a boisterous scherzo, though not as snappily articulated as Schnabel and partners who, despite a slightly more stately tempo, sound sprightly enough thanks to their fine staccato articulation. But while Schnabel slightly relaxes tempo in the middle trio, Backhaus and partners maintain the same pace (with some less-than perfect ensemble), a preferable option in my opinion.

However it is in the 4th movement (the famous theme and variations) that Schnabel-Pro Arte's interpretive options seem preferable, thanks to wonderfully lively and good-humored tempos. By comparison, Backhaus and partners don't seem as taut and well integrated. The Trout "theme" is taken at a relaxed tempo and with a plaintive feeling, and at the end of the first ensuing variations they apply some not so well-judged end-of-movement slowdowns, but their coda is wonderfully lively and nimble. They top it off with a warm-hearted finale, not hurried and full of bonhomie, like the rearing of a parading horse, in relative contrast to Schnabel's more brisk and lively; I can't say that one is better than the other, they represent two different and equally valid interpretive options, for which representatives can be found throughout the subsequent recording history of the "Trout" (Brendel-Cleveland more in the Schnabel vein, Richter-Borodin closer to Backhaus). Anyway, Backhaus and the International Quartet belong on a par with Schnabel to the collection of anyone with an interest for the work's performance history.

Brahms, Mozart: Piano Concertos / Backhaus, Böhm

Average customer rating:

A valid approach, after all!
Defintely One of the Very Best Brahms
One Of The Finest Recordings Of Brahms' 2nd Piano Concerto
A BRAHMS 2ND TO FALL IN LOVE WITH

Brahms, Mozart: Piano Concertos / Backhaus, Böhm

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Bach: 6 Suiten für Violoncello solo

ASIN: B00001IVR0
Release Date: 1999-09-14

Tracks:

Piano Concerto No.2 In B Flat Major, Op.83: 1. Allegro non troppo
Piano Concerto No.2 In B Flat Major, Op.83: 2. Allegro appassionato
Piano Concerto No.2 In B Flat Major, Op.83: 3. Andante
Piano Concerto No.2 In B Flat Major, Op.83: 4. Allegretto grazioso
Piono Concerto No.27 In B Flat Major, K595: 1. Allegro
Piono Concerto No.27 In B Flat Major, K595: 2. Largetto
Piono Concerto No.27 In B Flat Major, K595: 3. Allegro

Customer Reviews:

A valid approach, after all! .......2006-03-21

The Teutonic refinement of Wilhelm Backhaus has always been a veiled mystery. I knew from the profound admiration of Arrau for his pianism, thanks to a common friend who pitifully passed away fifteen years ago.

Maybe you may agree with this kind of hard reflexive and granitic Brahms. In fact Clifford Curzon employs a similar approach in his well know and famous recording with Georges Szell. I think Brahms must sound less rational and much more visceral, according his beloved and well known finals in so many works of visible gypsy tunes. Brahms also possessed humor, but if you want to inject major conceptual resonance and underline a major emphasis on span, (as Klemperer did it with Beethoven, for instance), go for this one.

Defintely One of the Very Best Brahms.......2004-08-27

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.......2001-12-25

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.

A BRAHMS 2ND TO FALL IN LOVE WITH.......2001-01-25

WILHELM BACKHAUS IS WELL KNOWN FOR HIS INTERPRETATIONS OF BEETHOVEN BUT HE WAS ALSO A GREAT BRAHMSIAN AS SHOWN IN THIS WONDERFUL RECORDING. KARL BOHM IS ALSO A SPLENDID MATCH FOR BACKHAUS AS THEY COMBINE THEIR MUSICAL INSIGHT AND STRENGTH AS IF THEY WERE ONE OF THE SAME. BACKHAUS PRODUCES PLAYING OF MASSIVE POWER AND MASCULINITY UNLIKE ANYONE ELSE YET HE CAN PRODUCE THE LIGHT TOUCH WHEN THE SCORE CALLS FOR IT. BACKHAUS ENTERS THE FIRST MOVEMENT DELICATELY THEN SNAPS THE DOORS DOWN WITH THAT MONOLITHIC SIGNATURE SOUND MELTING WITH PASSION,POWER,AND A CONFIDENT OPTIMISM. THE SECOND MOVEMENT HAS ERASED THAT OPTIMISM AND REPLACED IT WITH A GRIM CRY FOR RESCUE AS BACKHAUS GOES TO BATTLE WITH HEROIC VIGOR AND A OVERWHELMING ANXIETY BACKED UP BY KARL BOHMS ATTENTIVE ACCOMPANIMENT. BACKHAUS PLAYS AS IF HIS HANDS WERE GLUED TO THE KEYS AS HE MAKES EVERY NOTE STAB AND STICK THRU THIS VOLCANIC MOVEMENT. BACKHAUS'S FINGERS NOW BRUSH THE KEYS TENDERLY AS HE PLAYS THE FRAGILE DESPONDENT THIRD MOVEMENT WITH A KEEN SENSITIVE INSIGHT THAT IS MATCHED BY THE SUPERLATIVE PLAYING OF THE VIENNA PHILHAMONIC'S CELLIST. THE TWO MAKE VERY TOUCHING AND ELOQUENT CONVERSATION. THE FOURTH AND FINAL MOVEMENT FINDS ORCHESTRA AND SOLOIST PLAYING WITH THE GRACE,VITALITY,AND PLAYFULNESS OF A CHILD THAT IS A JOYOUS THING TO HEAR. WILHELM BACKHAUS AND KARL BOHM MADE MUSICAL POETRY TOGETHER HERE AND THIS RECORDING PRESERVES THAT MOMENT FOR ETERNITY. O.F.

Backhaus plays Brahms: Celebrated HMV Solo Piano Recordings, 1929-1936 (2 CDs)

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Backhaus plays Brahms: Celebrated HMV Solo Piano Recordings, 1929-1936 (2 CDs)

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

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ASIN: B00018Q4HY
Release Date: 2004-02-02

Tracks:

Ballade In D Minor, Op.10 No.1
Ballade In D Major, Op.10 No.2
Scherzo In E-Flat Minor, Op.4
Waltzes, Op.39: No.1 In B/No.2 In E/No.15 In A-Flat
No.6 In D-Flat/No.7 In A Major
Ballade In G Minor, Op.118 No.3
Intermezzo In A Minor, Op.76 No.7/Capriccio In C, Op.76 No.8
Intermezzo In F Minor, Op.118 No.4/Romance In F, Op.118 No.5
Intermezzo In E-Flat Minor, Op.118 No.6
Rhapsody B Minor, Op.79 No.1
Rhapsody In G Minor, Op.79 No.2
Intermezzo In A Minor, Op.118 No.1/Intermezzo In A, Op.118 No.2

Tracks:

Waltzes, Op.39 Nos.1-5
Waltzes, Op.39 Nos. 6-11
Waltzes, Op.39 Nos.12-15
Intermezzo In E Major, Op.116 No.4
Intermezzo In E-Flat Major, Op.117 No.1
Intermezzo In B-Flat Minor, Op.117 No.2
Intermezzo In B Minor, Op.119 No.1
Intermezzo In E Minor Op.119 No.2
Intermezzo In E Minor, Op.116 No.4
Variations On An Original Theme, Op.21 No.1
Variations On A Theme By Paganini, Op.35 Book 1
Var. 9-13
Var.14 To Half Way Through, Then Cut To Var.1 Of Book 2; Var.1-8
Var.9 - End
Capriccio In B Minor, Op.76 No.2/Intermezzo In C Major, Op.119 No.3
Capriccio In D Minor, Op.116 No.1/Intermezzo In A Minor, Op.116 No.2

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The magic of Backhaus
Unfussy in Beethoven; transcendent in Brahms
Stupendous, little known virtuoso.
"We shall never live so long or know so much"

Wilhelm Backhaus

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

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ASIN: B00000DBU5
Release Date: 1998-10-20

Tracks:

Piano Sonata In C Minor, Op.13 'Pathetique': 1. Grave - Allegro di molto e con brio
Piano Sonata In C Minor, Op.13 'Pathetique': 2. Adagio contabile
Piano Sonata In C Minor, Op.13 'Pathetique': 3. Rondo. Allegro
Piano Sonata In D Minor, Op.31 No.2 'Tempest': 1. Largo - Allegro
Piano Sonata In D Minor, Op.31 No.2 'Tempest': 2. Adagio
Piano Sonata In D Minor, Op.31 No.2 'Tempest': 3. Allegretto
Piano Sonata In E Flat, Op. 81a 'Les adieux': 1. Das Lebewohl. Adagio - Allegro
Piano Sonata In E Flat, Op. 81a 'Les adieux': 2. Abwesenheit. Andante expressivo
Piano Sonata In E Flat, Op. 81a 'Les adieux': 3. Das Wiedersehn. Vivacissimamente
Piano Sonata In C Minor, Op.111: 1. Maestoso - Allegro con brio ed appassionato

Tracks:

Piano Sonata In G, Op.79: 1. Presto alla tedesca
Piano Sonata In G, Op.79: 2. Andante
Piano Sonata In G, Op.79: 3. Vivace
Impromptu In E Flat, D.899 No.2: Allegro molto moderato
Fantasiestucke, Op.12: No. 3: Warum?
Soirees de Vienne: Valse-Caprice No.6, S.427 (After Schubert)
Etude In F Minor, Op.25 No.2
Klavierstucke, Op.119: No.3: Intermezzo In C
Piano Concerto No. 2 In B Flat, Op.83: 1. Allegro non troppo
Piano Concerto No. 2 In B Flat, Op.83: 2. Allegro appassionato
Piano Concerto No. 2 In B Flat, Op.83: 3. Andante - Piu adagio
Piano Concerto No. 2 In B Flat, Op.83: 4. Allegretto grazioso - Un poco piu presto

Customer Reviews:

The magic of Backhaus.......2004-08-10

This box-set is a must have. An accurate and representative testimonial of Wilhelm Backhaus's art. It contains Backhaus's performance of Brahms piano concerto in B flat with the Vienna Philharmonic under the baton of Carl Schuricht. It is absolute magic. It is one of the wonders of the gramophone. Far superior to the joint collaborations of Backhaus and Bohm. To my ears only Fischer and Furtwangler reached the same level of supreme artistry in this work. Unfortunately superb efforts by Richter and Schnabel are undermined by bad recording quality or inadequate conducting. Gilels-Jochum and Arrau-Giulini are very, very good but perhaps not in the same class.
Brahms B flat major concerto is one of the main hurdles of the pianistic repertoire, requiring dazzling technique associated with a deep interpretative sensitivity. Only the giants would emerge unscathed. Backhaus delivers the concert's agilities with a vivid, transparent and pure sound. His trenchant staccatos, his rock-like trills a (listen to the end of the first movement exposition for a clear example) leave the listener spellbound. The clarity of sound, the absence of any sound "thickening" reveal the long melodic line, the structural relationship of sounds and themes. Backhaus legato, may be, is not as magical as Schnabel's, but flows seamlessly. His use of rubato is discrete and sensitive always in line with his structural view of the long line. The artistic partnership with Schuricht and the VPO is one of those meetings of kindred spirits which are destined to leave indelible performances. Schuricht possesses the same depth of feeling and technical prowess of Backhaus. The VPO responds, as she only can, to the efforts of these two masters.
What about the rest. Backhaus Beethoven confirms why he was considered one of the 20th century outstanding interpreters of the "grand sourd". Schumann's "warum" is delivered softly with a murmuring sound so as to project the image of a mystery that cannot be unveiled. A mystery of which we can catch a glimpse from afar with a serene spirit. Superb. And so it is the rest.
Finally the booklet notes are excellent, devoid of all those silly statements about Backhaus "gruff good humour" or "his excessively abrupt directness" which infest the writings of many (fortunately not all) British music critics. The notes are written by pianist and musicologist Piero Rattalino, somebody who has heard Backhaus live many times and who can examine the art of interpretation not as an outsider.

Unfussy in Beethoven; transcendent in Brahms.......2003-03-19

Wilhelm Backhaus (1884-1969) was the first of the great pianists to have recordings from his entire career; his first record was in 1908, his last in the 1960s. Unfortunately, this two CD set from the Philips 'Great Pianists of the 20th Century' comes from a single decade - live performances from the 1950s. In the early days of his career this student of Eugen d'Albert was called a 'mechanicus', because of his rather straightforward playing, in contrast to the indulgent romanticism of most virtuosi of those days. Eventually he was seen as a pioneer of what came to be thought of as 'twentieth-century style' in pianism.

There are five Beethoven sonatas in this set, from a dramatic 'Pathétique' to an inward, yet brilliant, Op. 111. And there is an irreplaceable Op. 79 which, for me, is the highlight among the Beethovens; he manages to convey the whimsy and high-spirits of the outer movements better than any other I know.

There are some encores, bits and pieces of Liszt, Schumann, Schubert, Brahms, even Chopin (not a composer most people associate with Backhaus - here in a whirlwind Op. 25, No. 7 étude).

But the undoubted high point, for me, is the Brahms Second Concerto. It can so often come across as ponderous (in its outer movements) or vague and wayward (particularly in the third movement). Carl Schuricht (now there's an underrated conductor!) and the Vienna Philharmonic give him superb support (and the cello solo in movement III is heart-melting).

Backhaus was not a firebrand, but he was a musician through and through and his legacy should not be forgotten. This set, though not a complete record of his accomplishments, is a start, and worth its mid-price cost.

Stupendous, little known virtuoso........2000-10-17

Wilhelm Backhaus, who lived from 1884 to 1969, was one of the finest pianists of the 20th century. Backhaus first gained international fame in 1905, when he defeated some of the most phenomenal pianistic talents of his day at the Rubinstein Competition (second place went to Bela Bartok, who spoke disparagingly of Backhaus ever after). Backhaus was one of the colossal Beethoven players who ever lived, but his repetoire also included Brahms (another one of his specialties), Schubert, Schumann, Haydn, Rachmaninoff, Mozart, Handel, Debussy and Chopin. In interpreting Chopin, Backhaus showed that he wasn't "the performing metronome" (to quote the ever-vengeful Bartok), but an artist of unusual grace and sensitivity. These CDs feature mostly Beethoven (of course), and also small amounts of Schumann, Lizst, Schubert and Chopin. Backhaus' playing was one of restraint, superb control and technique and supreme elegance. Gyorgy Sandor called his style "understated, tremendous pianism," and these recordings prove that statement true.

On a purely technical level, Backhaus was transcendental. Indeed, there have been only a handful of players (Rachmaninoff, Hofmann, Michelangeli, Horowitz, Bolet, Lhevinne and perhaps Wild and Katchen) in the 20th century who rivalled him in terms of sheer physical command of his instrument. There are few surprises in Backhaus' playing; this is a pianist for whom there is no danger of wrong notes or smudged passages. Like Rachmaninoff, Backhaus presents the music in the most straighforward, direct manner possible. There is a monumental solidity to his playing that was unique. Backhaus was't given to affectation, sentimentality or mannerism: this is virtuosity played with keen intellect, and while he has often been described as cold, I find an undercurrent of emotion to almost every note Backhaus plays. Backhaus was relatively unknown the US compared to the likes of Horowitz or Rubinstein, but he was every bit their equal as a pianist and I highly recommend these fine performances to anyone who cares about great music.

"We shall never live so long or know so much".......1998-10-23

Wilhelm Backhaus was one of the greatest Beethoven players who ever lived. He was as objective as Schnabel, as passionate as Serkin and as explosive as A. Fischer. This CD documents his historic return to the U.S. after an absence of some 28 years. His legendary Carnegie Hall Recital (which is released on this double CD for the first time in its entirety) was taped on March 30, 1954. He was 70 years old and at the summit of his powers. His genius for capturing Beethoven's incomparable drive with note perfect form is heard here in almost every bar. He played 5 Beethoven sonatas and then 5 encores. There is no more exciting performance of the "Pathetique" available on CD. The "Tempest" is played as though he were possessed (he loved this sonata and played it frequently in recitals); the last mvt. is almost savage in its fury. His C-minor, the last of the 32 sonatas of Beethoven is perhaps the greatest performance on the 2 discs. It only has two movements - sometimes referred to as Sansara and Nirvana. What is obvious is that the first movement is a metaphor for the strife of the world and the second movement is something far removed from that strife. For many it is a meditation on eternity. Backhaus' genius is manifested here with startling intensity. I would suggest earphones (if you have them) for this sonata - No. 32. The encores (Schubert, Schumann, Chopin and Brahms) are wonderful too and the sheer intellectual and emotional power of this musician is captured forever on this remastered re-release. Backhaus is not for the "world's 100 most beautiful melodies" crowd. He is a musician for adults with brains. There is also included a performance of the Brahms 2nd Piano Concerto with Carl Schuricht and the Vienna Philharmonic Orchestra recorded in 1952. Backhaus was a fine Brahms player. But it is in Beethoven that his genius is most fully realized here. If you have ever wondered who Beethoven was, Backhaus can lead you to him. The rewards of this music are inexhaustible. And the sound on these discs is excellent! Backhaus played a Bosendorfer piano and you have to hear it to believe it. Philips has done a fine job with the digital remastering and the notes are first rate. The great man died on July 5th, 1969. He is buried in Cologne, Germany.

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Backhaus rocks (but he isn't "granitic")
don't miss out on this.
Mature, Rock-Solid Beethoven

Beethoven: Piano Sonatas
Wilhelm Backhaus
Manufacturer: Decca/Universal
ProductGroup: Music
Binding: Audio CD

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ASIN: B000E0LB7C
Release Date: 2006-01-09

Tracks:

Piano Sonata Op.2 No.1-3
Piano Sonata Op.10 No.1
Piano Sonata Op.10 No.2 & 3
Piano Sonata Op.13 'Pathetique'
Piano Sonata Op.14 No.1 & 2
Piano Sonata Op.22
Piano Sonata Op.26
Piano Sonata Op.27 No.1 & 2 'Moonlight'
Piano Sonata Op.28 'Pastorale'
Piano Sonata Op.31 No.1
Piano Sonata Op.31 No.2 'Tempest'
Piano Sonata Op.31 No.3
Piano Sonata Op.49 No.1 & 2
Piano Sonata Op.53 'Waldstein'
Piano Sonata Op.54
Piano Sonata Op.57 'Appassionata'
Piano Sonata Op.78
Piano Sonata Op.79
Piano Sonata Op.81a 'Les Adieux'
Piano Sonata Op.90
Piano Sonata Op.101
Piano Sonata Op.106 'Hammerklavier'
Piano Sonata Op.109-111

Album Details

Backhaus was One of the Great Exponents of the Classical and Romantic Repertory and his Performances Had an Integrity that Eschewed Any Unnecessary Display and Flamboyance; His Concern was to Give the Most Direct Interpretation of What the Composer Wishes and the Structure and Architecture of his Chosen Repertory was Paramount. Backhaus Recorded Extensively for Decca Throughout the 1950s and 1960s and Recorded Works by Beethoven, Brahms, Haydn, Mendelssohn, Mozart, and Schumann. His Complete Cycle of Beethoven Sonatas Occupied Him Throughout the 1950s and 1960s and is Regarded by Many as his Greatest Achievement, and the Cycle is Justly Recognised as One of the Great Recorded Cycles. It Has Not Been Available on CD for Some Years Now and is Reissued in Response to Repeated Requests to Make it Available Again.

Customer Reviews:

Backhaus rocks (but he isn't "granitic").......2007-05-12

I have struggled mightily to find words to describe Backhaus's interpretation of the Beethoven PIano Sonatas. The effort has not been helped by reading various online reviews that curiously describe Backhaus's playing as "calm", "restrained", "monochromatic", even "bland". Some cite his "dry directness" and "lack of emotion". As poorly as these words and phrases describe Backhaus, the one descriptor that annoys me the most is "granitic". Reviewers and critics who use this term may be referring to a sort of authority that is indeed present, but "granitic" to me implies a sort of inflexibility, lifelessness, and weightiness that simply isn't borne out by the experience of listening. So, while I am unprepared to say what Backhaus's playing is, I am happy to say that it is not "dry" or "restrained" or "calm" or "monochromatic".

And it is certainly not "granitic".

Just compare the 4th movement of the Pastoral sonata as played by Backhaus with any number of other recordings. Backhaus's treatment is playful and good-humored whereas most interpretations come off as far more structured, classical, or even (as in the case of Ashkenazy) plodding. It is (here and elsewhere) as if Backhaus has been influenced by Jazz (so natural as to seem improvised) or by Post-Impressionism (reminiscent of Van Gogh's Starry Night, Backhaus paints with broad strokes and great swirls of color and movement, not abstract but certainly not literal). Backhaus doesn't just play the notes, he unfurls a great canvas full of color, movement, and vibrancy, leaving the listener with an indelible impression of each piece in its entirety. Reviewers too often describe this as an understanding of the "architecture" of the sonatas, which to me again invokes images of blueprints and sliderules (more appropriate to Gulda), not the color and fluidity that I hear and feel in these performances.

Backhaus can be aggressive (witness the third movement of the Tempest) without resorting to savagery, and he can be gracefully lyrical (listen to his Andante from the Cuckoo Sonata). His play seems to me generally "masculine" -- but then so does Annie Fischer's. One senses in Backhaus's playing a love for this body of work that could easily cause Backhaus to stray into subjectivity and bombast, but a simultaneous respect for Beethoven's ideas that yields an always exciting (and occasionally mind-blowing) dynamic tension.

Simply put, these performances seem completely natural, never punctilious or deliberate or even careful. They are full of the confidence that comes only with experience. They just sound right.

Remember, these 1960's performances are the work of a man who was born in 1884 and who made his first recording in 1907. Backhaus was Schnabel's contemporary, born just two years after the legendary pianist but surviving him by eighteen years -- a period that happily intersects with the advent of high fidelity stereo. We are fortunate that Backhaus lived and performed long enough to re-record all but one of the sonatas (the Hammerklavier) with the new technology, so what we have in this set is a serendipitous hi-fi glimpse of a prolific performer with 19th century roots and a ton of 20th century experience. Despite our good fortune, Backhaus has remained relatively obscure compared to Schnabel, though his interpretations are (to my ear, at least) at least as worthy of our attention and praise. In fact, when Backhaus died in 1969, Time Magazine referred to him as "the century's foremost interpreter of Beethoven."

The sound is quite good throughout the set, slightly dated only on the mono Hammerklavier. The Bosendorfer adds depth and breadth to Backhaus's characteristic richness of tone.

I own or have owned complete cycles by Annie Fischer, Gulda (who seems to me the anti-Backhaus), Kempff, and Schnabel, and numerous individual performances from Ashkenazy, Pollini, Gieseking, Rubinstein, and Solomon. If one accepts that record labels do not wantonly immortalize the playing of hacks, then each of these players must have something worthwhile to say. Annie Fischer's wonderful set is currently my second choice, with Kempff a close third, and I will continue to explore other interpretactions. But I am reasonably confident that no one will ever displace Backhaus as the premier interpreter in my collection, and the most consistently satisfying.

Backhaus rocks!

don't miss out on this........2007-04-17

this has been my favorite beethoven set for a long time. sure, i had a few affairs now and then. for a short while i used to be infatuated with friederich gulda's no-holds-barred sonatas on amadeo, and then with solomon's impeccable performances of half the sonatas, sadly curtailed by a debilitating stroke. i almost fell for annie fischer. for a while, she seemed to be all the rave. her set does contain some very beautiful, passionate moments of beethoven. but the overall satisfaction that i derived from her readings, as well as gulda's, schnabel's, gilels's, and arrau's, seemed to be somewhat lacking than that which i had found in backhaus's.
i suppose it mostly has to do with a sense of architecture - with fischer and gulda, every moment is a climax. they just don't have the time for foreplay. it's like listening to karajan conducting mahler - very beautiful and heartwrenching indeed, but merely beautiful. with schnabel and gilels, a sense of structure becomes manifest, if to a somewhat lesser degree than with solomon and backhaus. but they too seem to be more intent on communicating spontaneous emotional responses. only solomon and backhaus manage to place each musical inspiration within a larger framework.
just compare backhaus's appassionata with gulda's for instance. gulda certainly has the better fingerwork (especially since backhaus was in his 70's when he recorded the work) and often manages to compel the listener to emotional heights that seldom can be scaled in other readings. however, once gulda is done, one is immediately taken over by the sense that the music is over too soon. with backhaus, you might think that his playing is too reserved (people often accuse him of hamfistedness, but if you listen to his work at fast passages, you'll realize how unfounded that criticism is). but backhaus knows what he is doing, and when he finally does take you to the top of the mountain, you'll realize that there's much more scenery to take in than you've ever known. this element of performance becomes increasingly eminent in the later sonatas. i guess this is what prompted kovacevich to call backhaus "the only pianist that understood the "hammerklavier" sonata."
solomon also conveys the sense that each sonata is "absolute" music that must be experienced as a whole. but his set is unfortunately incomplete, and marred by emi's terrible postwar 1940's~50's recording technology (gieseking's debussy recordings also suffer from this malady).
in some of the less famous sonatas, recorded in the twilight of backhaus's life, there are occasional hints of deteriorating technique. but his wisdom, more mellow than ever, penetrates to the deepest recesses of beethoven's oft trodden music, creating them anew for the ears and minds of generations to come.

Mature, Rock-Solid Beethoven.......2006-06-29

From the first sonata to the last, Backhaus plays these works with all the seriousness and intensity they demand. His tone, not usually mentioned, is incredible. His playing may lack charm and lightheartedness, but after all, this is Beethoven, not Mozart. He has a nice classical approach to the early works, though it should be mentioned that he observes very few of the repeats. The middle works are even better, he presents such favorites as the Pathetique and Waldstein works in such a compelling way that its like hearing them for the first time. In the late works he is a bit less at home, but in my opinion much can still be enjoyed in his performances of them. Backhaus recorded this cycle twice and played them throughout his life. In fact, some of the performances were recorded just a few months before he died, though you would never know it. Another interseting fact is that he was actually EMI's second pick to be the first pianist to record the 32 sonatas, Schnabel of course was the first. This shows that thirty years before he recorded this cycle, EMI recognized his greatness. Imagine then, what 30 years of performing and recording these works did for him. They are incredible recordings that show a master who understands these works like so very few do.

This is a reissue of his stereo set, which has far better sound than his very similar mono cycle, currently unavailable in the U.S.. The liner notes are illuminating as well. This set is worth twice the asking price and will surely not be around forever, so do yourself a favor and get this cycle. You won't be disappointed.

Brahms: Liebeslieder Waltzes, Op52; Waltzes Op39

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Brahms: Liebeslieder Waltzes, Op52; Waltzes Op39

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000024F5B
Release Date: 2001-08-07

Tracks:

16 Walzer, Op.39: No.1 in B - Wilhelm Backhaus
16 Walzer, Op.39: No.2 in E - Wilhelm Backhaus
16 Walzer, Op.39: No.3 in g# - Wilhelm Backhaus
16 Walzer, Op.39: No.4 in e - Wilhelm Backhaus
16 Walzer, Op.39: No.5 in E - Wilhelm Backhaus
16 Walzer, Op.39: No.6 in C# - Wilhelm Backhaus
16 Walzer, Op.39: No.7 in c# - Wilhelm Backhaus
16 Walzer, Op.39: No.8 in B flat - Wilhelm Backhaus
16 Walzer, Op.39: No.9 in d - Wilhelm Backhaus
16 Walzer, Op.39: No.10 in G - Wilhelm Backhaus
16 Walzer, Op.39: No.11 in b - Wilhelm Backhaus
16 Walzer, Op.39: No.12 in E - Wilhelm Backhaus
16 Walzer, Op.39: No.13 in B - Wilhelm Backhaus
16 Walzer, Op.39: No.14 in g# - Wilhelm Backhaus
16 Walzer, Op.39: No.15 in A flat - Wilhelm Backhaus
16 Walzer, Op.39: No.16 in c# - Wilhelm Backhaus
18 Liebslieder-Walzer, Op.52: 1. Rede, Madchen, Allzu Liebes - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 2. Am Gesteine Rauscht Die Flut - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 3. O Die Frauen - Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer/Hermann Von Nordberg
18 Liebslieder-Walzer, Op.52: 4. Wie Des Abends Schone Rote - Irmgard Seefried/Elisabeth Hongen/Friedrich Wuhrer/Hermann Von Nordberg
18 Liebslieder-Walzer, Op.52: 5. Die Grune Hopfenranke - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 6. Ein Kleiner, Hubscher Vogel - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 7. Wohl Schon Bewandt - Elisabeth Hongen/Friedrich Wuhrer/Hermann Von Nordberg
18 Liebslieder-Walzer, Op.52: 8. Wenn So Lind Dein Auge Mir - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 9. Am Donaustrande - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 10. O Wie Sanft Die Quelle - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 11. Nein, Es Ist Nicht Auszukommen - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 12. Schlosser Auf - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 13. Vogelein Durchrauscht Die Luft - Irmgard Seefried/Elisabeth Hongen/Friedrich Wuhrer/Hermann Von Nordberg
18 Liebslieder-Walzer, Op.52: 14. Sieh, Wie Ist Die Welle Klar - Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer/Hermann Von Nordberg
18 Liebslieder-Walzer, Op.52: 15. Nachtigall, Sie Singt So Schon - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 16. Ein Dunkeler Schacht Ist Liebe - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
18 Liebslieder-Walzer, Op.52: 17. Nicht Wandle, Mein Licht - Hugo Meyer-Welfing/Friedrich Wuhrer/Hermann Von Nordberg
18 Liebslieder-Walzer, Op.52: 18. Es Bebet Das Gestrauche - Irmgard Seefried/Elisabeth Hongen/Hugo Meyer-Welfing/Hans Hotter/Friedrich Wuhrer...
16 Walzer, Op.39: No.2 in E - Friedrich Wuhrer/Hermann Von Nordberg
16 Walzer, Op.39: No.15 in A flat - Friedrich Wuhrer/Hermann Von Nordberg
16 Walzer, Op.39: No.6 in C# - Friedrich Wuhrer/Hermann Von Nordberg
18 Liebslieder-Walzer, Op.52: 1. Rede, Madchen, Allzu Liebes - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 2. Am Gesteine Rauscht Die Flut - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 3. O Die Frauen - Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 4. Wie Des Abends Schone Rote - Comtesse Jean De Polignac/Irene Kedroff/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 5. Die Grune Hopfenranke - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 6. Ein Kleiner, Hubscher Vogel - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 7. Wohl Schon Bewandt - Irene Kedroff/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 8. Wenn So Lind Dein Auge Mir - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 9. Am Donaustrande - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 10. O Wie Sanft Die Quelle - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 11. Nein, Es Ist Nicht Auszukommen - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 12. Schlosser Auf - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 13. Vogelein Durchrauscht Die Luft - Comtesse Jean De Polignac/Irene Kedroff/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 14. Sieh, Wie Ist Die Welle Klar - Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 15. Nachtigall, Sie Singt So Schon - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 16. Ein Dunkeler Schacht Ist Liebe - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 17. Nicht Wandle, Mein Licht - Hugues Cuenod/Dinu Lipatti/Nadia Boulanger
18 Liebslieder-Walzer, Op.52: 18. Es Bebet Das Gestrauche - Comtesse Jean De Polignac/Irene Kedroff/Hugues Cuenod/Doda Conrad/Dinu Lipatti/Nadia Boulanger
16 Walzer, Op.39: No.1 in B - Dinu Lipatti/Nadia Boulanger
16 Walzer, Op.39: No.2 in E - Dinu Lipatti/Nadia Boulanger
16 Walzer, Op.39: No.5 in E - Dinu Lipatti/Nadia Boulanger
16 Walzer, Op.39: No.6 in C# - Dinu Lipatti/Nadia Boulanger
16 Walzer, Op.39: No.10 in G - Dinu Lipatti/Nadia Boulanger
16 Walzer, Op.39: No.14 in g# - Dinu Lipatti/Nadia Boulanger
16 Walzer, Op.39: No.15 in A flat - Dinu Lipatti/Nadia Boulanger

Track Listings:

Track Listings

track listings

Track Listings

Unstoppable

Bernstein Favorites: Waltzes

Blues Harp Chart w/CD

The Journey/Classical Gas [Import]

Beat from Holland, Vol. 2 [Import]

Bump Bump Bump [CD-single] [Import]

Casper The Friendly Ghost (Original Television Cast) [Cast Recording]

Buy Victory Bonds [Import]

Classic Country: Early '60s

Amor y Suerte: Exitos Romanticos

Black Balloon / Slide [CD-single]