Brahms: Piano Concertos Nos. 1 & 2; Fantasies. Emil Gilels; Eugen Jochum, Berlin Philharmonic Orchestra. DG Originals 447446-2 (2-disc set).Brahms: Piano Concertos Nos. 1 & 2; Fantasies. Emil Gilels Emil Grigoryevich Gilels (Russian: Эми́ль Григо́рьевич Ги́лельс, Emi'li Grego'rievič Gi'lelis ; Eugen Jochum Eugen Jochum (November 1, 1902 – March 26, 1987) was an eminent German conductor. Born in Babenhausen, near Augsburg, Germany, Jochum studied the piano and organ in Augsburg until 1922.[1] He then studied conducting in Munich. , Berlin Philharmonic Orchestra. DG Originals 447446-2 (2-disc set). This DG Originals series remastering is the second time these works have appeared on CD. However, I had previously only heard them in their original LP format some 20-odd years ago, so I cannot vouch for their sonic improvement in compact disc form. What I can claim is that the sound I am now hearing is a vast improvement over what I remember, and has renewed my overall appreciation for the performances. The sound is very dynamic and very wide in stereo spread, creating a sensation almost of awe upon listening to the first few moments of the First Concerto. This is not to suggest that the sonics are yet in the demonstration category, as there is still a noticeable compartmentalization and veiling present. The soft-centered nature of the sound somewhat belies its large, close-up size and dynamics, extending a less than natural perspective. Nonetheless, the sound is easy on the ears and well complements the music making. As to the interpretations, they, at least, must unquestionably un·ques·tion·a·ble adj. Beyond question or doubt. See Synonyms at authentic. un·ques tion·a·bil stand in the demonstration class. Indeed, they are almost in a class by
themselves. I confess to a greater liking for the Second Concerto than
the First, the First being a bit too lofty, craggy crag·gy adj. crag·gi·er, crag·gi·est 1. Having crags: craggy terrain. 2. Rugged and uneven: a craggy face. , and self-important; the Second more lyric, more tuneful, yet equally imposing in its way. Gilels' version of the First, I think, meets its equals in the hands of Kovacevich (EMI (ElectroMagnetic Interference) An electrical disturbance in a system due to natural phenomena, low-frequency waves from electromechanical devices or high-frequency waves (RFI) from chips and other electronic devices. Allowable limits are governed by the FCC. ), Curzon (London), and Rubinstein (RCA See RCA connector and video/TV history. ); but the Second is equaled only by Kovacevich's IMP disc and, perhaps, by Gilels' own earlier RCA recording. Gilels' performances are of the first rank, and to have them together in the same set is a gift to all music lovers. |
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