Until
recently the realisation that Adolf Busch had not left behind
a commercial recording of the Beethoven Concerto was a thoroughly
dispiriting one. The gloom has been at least partly lifted
by the recent appearance of two performances given on successive
days. The first was given in Carnegie Hall on 8 February
1942 with the NYPSO conducted by Busch’s brother Fritz, which
is the performance preserved here. The following day the
same forces went into the studios to record the concerto,
a performance that was never issued at the time, the soloist
selflessly and maybe uniquely objecting to his forward position
in the balance. This performance has now been issued by both
Biddulph (see review)
and by Instituto Discografico Italiano (see review).
Both reviews are noted above. I should add that this unreleased
studio
performance first appeared on a Brüder-Busch-Gesellschaft
LP but it had limited circulation.
One
would not expect many, if any, profound differences between
performances given on consecutive days by the same forces.
The tension of the recording doubtless didn’t help matters,
though, and it’s noticeable that the concert performance
is that bit freer and more spontaneous. The sound, it’s true,
is rather boxy with treble sound rather constricted. But
at important points one does hear a deal of detail – the
wind solos, for instance, are prominent. Busch’s opening
octaves do sound to me, as they sounded in the studio performance,
tentative and there are minor technical lapses from him from
time to time. The compensations however are those of profoundly
sagacious architectural understanding and an ability to coalesce
a work that often splinters in lesser hands, into an organic
whole. With Busch this is a concerto and not a parade of
three discrete movements.
His
playing has the accustomed fluidity of expression and lyricism
one expects of him – listen to the shaping of the line at
11.30 (ravishing) and the unforced tempi he and Fritz adopt.
It may sound fanciful but when one listens to Busch one never
hears mere “passagework” – one hears musical bedrock, architectural,
the real thing. It’s also intriguing to hear his own newly
unveiled cadenzas. The slow movement is rapt, celestial,
relaxed and beautiful – and I defy you to resist him, especially
in moments when tonal warmth is so palpable. The finale is
vigorous but again not too quick. I don’t find this movement
always quite so effective in his hands but I did like those
big New York basses, and they add drama and depth. A marvellous
survival then, rightly brought to us.
A
year earlier he’d played the two Romances at a War Bond benefit
concert with Alfred Wallenstein conducting and despite the
rather congested sonics and acetate noise we can still appreciate
his guileless way with them; excellent additions to the important
Busch discography.
The
Bach is noted as previously unreleased but this actually
has been issued by Pearl (see review) – as noted above, where
I commented that I enjoyed the performance greatly, especially
the slow
movement. Of the two transfers the Pearl preserves more of
the highs and the room ambience and it’s theirs that I prefer.
The
typically accomplished notes are by Busch biographer Tully
Potter though I’m sure he will have Efrem Zimbalist admirers
on his back for daring to suggest that Busch had the Longest
Bow in the West; pros have always awarded Zimbalist that
honour.
Jonathan Woolf
Accustomed
fluidity of expression and lyricism … one hears musical bedrock,
the real thing. Rapt, celestial, relaxed and beautiful –I
defy you to resist him ... see Full Review
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Adolf Busch
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