One of the most grown-up review sites around

2021
55,946 reviews
and more.. and still writing ...

Search MusicWeb Here

     
  
 







International mailing


 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider

 

paid for
advertisements



TROUBADISC

100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas


FOGHORN Classics


Mozart Brahms
Clarinet Quintets


Puertas de Madrid
www.emecdiscos.com


www.emecdiscos.com


Eugène Ysaÿe: Violin Discoveries
review


Debussy Complete Preludes

 


 


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

 

Discs for review may be sent to:
Jonathan Woolf
76 Lushes Road
Loughton
Essex IG10 3QB
United Kingdom
Ph. 020 8418 0616
jonathan_woolf@yahoo.co.uk


 

REVIEW
Plain text for smartphones & printers


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical


Click to see New Releases
Get 10% off using code musicweb10

 


Obtain 10% discount

Recordings of the Month

October


Shostakovich

September


Witold MALISZEWSKI
Symphonic Works


Frederico Mompou


Extraordinary Music for Organ

 


Support us financially by purchasing
this disc through MusicWeb
for £5.99 postage paid world-wide.


Robert SCHUMANN (1810-1856) Piano Concerto in A minor, Op. 54 [29:33]
Pyotr Ilyich TCHAIKOVSKY (1840-1893) Piano Concerto No. 1 in B flat minor, Op. 23 [35:35]
Sviatoslav Richter (piano)
Warsaw National Philharmonic Orchestra/Stanislaw Wislocki
Vienna Symphony Orchestra/Herbert von Karajan
rec. 1959 and 1962. ADD stereo
ALTO ALC 1200 [65:00]


 
Working from original Deutsche Grammophon LPs Paul Arden-Taylor has given these two classic performances a fresh lease of bargain basement life. This continues the line established by Alto’s previous resurrection of the Richter/Michelangeli Rachmaninov concertos, which on that occasion married up DG and EMI sessions (review).
 
In fact the Schumann concerto here is from the same forces as the Rachmaninov Piano Concerto No. 2. The similarly plangent results can trace their source from a hypnotically deep romantic tradition. Here it is sensitive to the telling impact of the most careful attention to dynamic contrast without descending into mannered italicisation. The Tchaikovsky concerto finds the participants in burly romantic form. This is high octane stuff but I still prefer the growl and swoon of the Postnikova and Rozhdestvensky version with the same orchestra (review review). Still Richter is extraordinary though at times he does seem to be engaged in an epic struggle with Karajan. It keeps the listener on his toes. I also recall that another later collaboration between Karajan and Alexis Weissenberg was well worth hearing – one of my formative musical listening experiences (EMI ASD 2576). Let me not leave this work without again holding a laudatory torch for a rare CD coupling of what I consider to be among the very finest couplings of the first two Tchaikovsky concertos: Mikhaïl Petukhov with the Buenos Aires Phil conducted by Alexander Anissimov – the latter on very good form by comparison with his occasionally lacklustre showings on Naxos in Glazunov - Pavane ADW 7387
 
The LP stock yields up really good red-blooded results: towering yet poetic especially in the case of the Tchaikovsky. That said, in the Schumann and in the second movement of the Tchaikovsky there are some largely veiled but not inaudible low level thumps. Those and other occasional though discrete audio detritus are to be heard if you go listening. On the other hand you really have better things to do in this elite company.
 
Once again James Murray provides the complementary liner notes touching in all those fine little details that round out the experience.
 
These are performances full of vibrant character and the stuff of which musical discoveries are made likewise for those new to repertoire and for older and even jaded listeners.
 

Rob Barnett