Why do you never mention pianist Earl Wild in your various concerto picks? He has one of the best Rachmaninoff concerto recordings (all 4), a fantastic Tchaikovsky concerto plus just about every other concerto. He has recorded tons of repertoire. You don’t even mention him in your honorable mentions.
Michael Rolland Davis: Earl Wild plays Rachmaninoff wondrously, and this is coming from one who has the composer's own performances in a complete discography of Rachmaninoff at the piano for so very many of his own works (the Four Concerti, the Rhapsody on a Theme of Paganini) as well as the works of so many other composers -- long solo works of Robert Schumann and Frederic Chopin.
But I will say, John Buxton's judgment on Martha Argerich and Emil Gilels (one of my beloved pianists) moves me, because these are also at the top of my love of pianistry.
I was a ten-year-old kid at the time of the Van Cliburn craze after he had won the Tschaikovsky Competition in Moscow, and, though I am not so enamored of Van Cliburn, he did start the young boy in me to be a lifelong lover of great music.
Another surprise for me, is Mr. Buxton reaches all the way back to 1932 for a recording of the Concerto by Arthur Rubinstein, when that master made excellent recordings much later in his life.
Reaching back to 1932, I wish, I wish that Sergei Rachmaninoff had recorded this concerto of his Conservatory Master. I also wish Sergei Rachmaninoff had recorded the Brahms Concerti. That would be a wonder, with Rachmaninoff's pianistry. Alas!
On the whole, Mr. Buxton does a creditable job in this column.
None of what I say is criticism.
Far from it.
Mr. Buxton performs an invaluable service, and he does it quite well. Like a critic from a major newspaper of record.
But at 77, I have the listening experiences of a whole lifetime, and I have heard so many interpretations of these war horses.
But in picking Martha Argerich, Emil Gilels and Vladimir Horowitz, it is hard to be critical of Mr. Buxton.
Maybe the piece on Tchaikovsky's concerto should be the subject of a half-dozen articles to include everything.
By the way, I would urge anyone to listen to Josef Hofmann's interpretation of an Anton Rubinstein Concerto. Not often performed, but under the fingers of the master, Josef Hofmann, it is electrifying.
Around 1960, my family had a pile of 45s. Maybe I am not remembering this correctly, but there was a set of three yellow records that were supposed to teach appreciation of classical music to kids. The repeated tag line was "And the monkey played the bassoon.
The last side, very impressive to a 6-year-old, was several minutes of Tchaikovsky's Piano Concerto No. 1. I still listen to classical music.
Does anyone remember these 45s? I may have two sets confused.
The Horowitz/Toscanni has long been my go to recording. That said, I'm re-listening to the Argerich/Abbado tomorrow and a couple of the others you mention.
It's not recorded, but I heard a live performance with Tzimon Barto, Christoph Eschenbach, and the Chicago Symphony that did something with the opening I've never heard anywhere else. When the strings entered with the melody, Barto brought the volume down. Made the chords strictly an accompaniment that it really is. Have the chords a lyrical feeling. You heard them, but definitely subdued. Most pianists crash through them almost overpowering the strings. The effect was absolutely wonderful. I've never forgotten the performance.
Of all the recordings of this concerto you've heard, anything close to my description of Barto?
Yes, I think they did the same thing on their recording (with Barto, Eschenbach, and the DSO Berlin on Capriccio) and it is very interesting what Barto does there (listening to it as I write this). I’m not familiar enough with the 1879 revised version to know if Barto is using that version (rather than the much more common 1888 version), or if he just chose to do that. I believe Kirill Gerstein uses the 1879 version on both of his recordings, which I must admit sounds odd to me. But that is probably because I am so used to pianists pounding out those opening chords. Thanks for your comments!
Thanks for making me aware of this recording. I spent some time with it today. Barto let's many places drag and it shouldn't make your list in any respect.
That said, I absolutely love how Barto treats the chords in the opening section. In this recording, he mimics/compliments the crescendo and decrescendos in the strings. That's soothing he didn't do in the live performance I saw in the early 1990's.
As a young student, it was filled into me to bring out the melody, no matter the dynamic marking. Seems what Barto does with the chords adheres to that.
I didn't notice any compositional differences in the recording, so I don't think they are using the first revision.
Why do you never mention pianist Earl Wild in your various concerto picks? He has one of the best Rachmaninoff concerto recordings (all 4), a fantastic Tchaikovsky concerto plus just about every other concerto. He has recorded tons of repertoire. You don’t even mention him in your honorable mentions.
Michael Rolland Davis
Michael Rolland Davis: Earl Wild plays Rachmaninoff wondrously, and this is coming from one who has the composer's own performances in a complete discography of Rachmaninoff at the piano for so very many of his own works (the Four Concerti, the Rhapsody on a Theme of Paganini) as well as the works of so many other composers -- long solo works of Robert Schumann and Frederic Chopin.
But I will say, John Buxton's judgment on Martha Argerich and Emil Gilels (one of my beloved pianists) moves me, because these are also at the top of my love of pianistry.
I was a ten-year-old kid at the time of the Van Cliburn craze after he had won the Tschaikovsky Competition in Moscow, and, though I am not so enamored of Van Cliburn, he did start the young boy in me to be a lifelong lover of great music.
Another surprise for me, is Mr. Buxton reaches all the way back to 1932 for a recording of the Concerto by Arthur Rubinstein, when that master made excellent recordings much later in his life.
Reaching back to 1932, I wish, I wish that Sergei Rachmaninoff had recorded this concerto of his Conservatory Master. I also wish Sergei Rachmaninoff had recorded the Brahms Concerti. That would be a wonder, with Rachmaninoff's pianistry. Alas!
On the whole, Mr. Buxton does a creditable job in this column.
None of what I say is criticism.
Far from it.
Mr. Buxton performs an invaluable service, and he does it quite well. Like a critic from a major newspaper of record.
But at 77, I have the listening experiences of a whole lifetime, and I have heard so many interpretations of these war horses.
But in picking Martha Argerich, Emil Gilels and Vladimir Horowitz, it is hard to be critical of Mr. Buxton.
Maybe the piece on Tchaikovsky's concerto should be the subject of a half-dozen articles to include everything.
By the way, I would urge anyone to listen to Josef Hofmann's interpretation of an Anton Rubinstein Concerto. Not often performed, but under the fingers of the master, Josef Hofmann, it is electrifying.
Thank you for comments, and for the Rubinstein recommendation!
Around 1960, my family had a pile of 45s. Maybe I am not remembering this correctly, but there was a set of three yellow records that were supposed to teach appreciation of classical music to kids. The repeated tag line was "And the monkey played the bassoon.
The last side, very impressive to a 6-year-old, was several minutes of Tchaikovsky's Piano Concerto No. 1. I still listen to classical music.
Does anyone remember these 45s? I may have two sets confused.
The Horowitz/Toscanni has long been my go to recording. That said, I'm re-listening to the Argerich/Abbado tomorrow and a couple of the others you mention.
It's not recorded, but I heard a live performance with Tzimon Barto, Christoph Eschenbach, and the Chicago Symphony that did something with the opening I've never heard anywhere else. When the strings entered with the melody, Barto brought the volume down. Made the chords strictly an accompaniment that it really is. Have the chords a lyrical feeling. You heard them, but definitely subdued. Most pianists crash through them almost overpowering the strings. The effect was absolutely wonderful. I've never forgotten the performance.
Of all the recordings of this concerto you've heard, anything close to my description of Barto?
Yes, I think they did the same thing on their recording (with Barto, Eschenbach, and the DSO Berlin on Capriccio) and it is very interesting what Barto does there (listening to it as I write this). I’m not familiar enough with the 1879 revised version to know if Barto is using that version (rather than the much more common 1888 version), or if he just chose to do that. I believe Kirill Gerstein uses the 1879 version on both of his recordings, which I must admit sounds odd to me. But that is probably because I am so used to pianists pounding out those opening chords. Thanks for your comments!
Thanks for making me aware of this recording. I spent some time with it today. Barto let's many places drag and it shouldn't make your list in any respect.
That said, I absolutely love how Barto treats the chords in the opening section. In this recording, he mimics/compliments the crescendo and decrescendos in the strings. That's soothing he didn't do in the live performance I saw in the early 1990's.
As a young student, it was filled into me to bring out the melody, no matter the dynamic marking. Seems what Barto does with the chords adheres to that.
I didn't notice any compositional differences in the recording, so I don't think they are using the first revision.
Thanks for your posts!
I wish substack let you edit your comments