[SACD-R][OF] Clifford Curzon, George Szell, Adrian Boult - Brahms: Piano Concerto 1; Franck: Symphonic Variations; Litolff: Scherzo - 1962/2004 (Orchestral, Piano)


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Clifford Curzon, George Szell, Adrian Boult
Brahms: Piano Concerto 1; Franck: Symphonic Variations; Litolff: Scherzo
- Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1962/2004
Жанр: Orchestral, Piano
Издатель(лейбл): Decca / Universal Japan
Продолжительность: 01:13:14
Наличие сканов в содержимом раздачи: Нет-Треклист:
Brahms: Piano Concerto No. 1:
01- 1. Maestoso – Poco piu moderato
02- 2. Adagio
03- 3. Rondo (Allegro non troppo)
04-Franck: Variations symphoniques
05-Litolff: Scherzo from Concerto symphonique, No. 4 op. 102-Clifford Curzon, Piano
London Symphony Orchestra (Brahms)
George Szell (conductor)
London Philharmonic Orchestra (Franck, Litolff)
Sir Adrian Boult (conductor)-Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0
Доп. информация: Decca Universal Japan UCGD-7025
Источник (релизер): ManWhoCan (PS³SACD)
http://sa-cd.net/showtitle/2684

Об альбоме (сборнике)

Amazon reviews:
By Santa Fe Listener:
David Hurwitz makes some silly comments in his Amazon review, but he’s on target about how good this CD is. Agreeing with all the accolades heaped on this 1962 recording of the Brahms 1st Concerto is easy, but not many reviewers here have captured what makes this performance special. Clifford Curzon never relied upon power & flash; he was a modest man & a scrupulous musician steeped in European style. His Brahms 1st is magical because he finds a sensitive, lyrical way of phrasing every bar. Instead of crashing & banging, 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 1st movement, even in a field where sensitive readings from Barenboim & Fleisher, among others, also avoid showmanship & keyboard banging. 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 1st 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.
By Hiram Gòmez Pardo Venezuela:
From the 1st beat of this colossal piano concert – 1 of the most demanding of pianistic literature indeed – one can feel this aristocratic atmosphere, diamond fingering & restrained expression that never exceeds the boundaries of formal romanticism. Curzon at the piano & Szell in the podium built an admirable conception of this celebrated work, without ever incurring excessively dramatic or theatrical postures. Curzon’s piano playing is the most representative of the English school. Cortes, refined, dispassionate, without the rigid formality of German pianism. Moreover, Szell permeates the work of a strong vitality & mystery that is nocturnal revealed through the score. The level at which this score was taken somehow still remains insulated from all other versions I’ve heard. From there, his legendary reputation by critics & mass audiences.
Symphonic Variations are interpreted & perfumed lyricism & shining splendor without falling into those finicky cantabile so characteristic of renowned pianists. In my view, this version is in 2nd place behind the hitherto unsurpassed interpretation of Ivan Moravec (Supraphon label) accompanied by the Czech Philharmonic Orchestra conducted by Vaclav Neumann.
Finally, Curzon interprets the expression Litolff for this spring, full of inspired brilliance so typical of the Romantic movement.
In addition, a CD that should have anyone who loves great music. It senciallamente anthology and one of the recordings of the twentieth century, no doubt.
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