Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
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Editorial Reviews
Amazon.com
Among the concertos of Beethoven and Brahms, these two have always been stepchildren. One reason is their extreme difficulty; both composers were pianists, so Beethoven wrote an idiomatic part only for the piano. Brahms's friend Joseph Joachim offered advice for the violin concerto, but not for the Double Concerto, which was written as a peace offering after a falling-out. The Beethoven Triple Concerto demands utmost virtuosity, as well as intimate teamwork among the soloists, and that is exactly what these three supreme masters of their instruments bring to it. Free--indeed unaware--of technical problems, they give it a joyful, sparkling lightness. The piano ripples, the cello sings gorgeously, the violin soars ecstatically, the tone is intoxicatingly beautiful. The Finale is wistful, charming, lyrical, gently humorous; the ending is a big joke, with the cello and piano rumbling in the bass, while the violin whistles forlornly in the dark until they all join together. The Brahms is grand, majestic, dreamy, radiant, triumphant; the slow movement warm as dark velvet, the Finale genial and relaxed. Though the orchestra never covers the soloists, it explodes in the tutti passages, especially in the Beethoven, so you might keep a finger on the volume control. --Edith Eisler
Customer Reviews
Simply bad.
There is a good reason why this recording can be had new for seven dollars and change while the Bruno Walter reissue costs sixty bucks. This Triple is just plain awful. Neither Corigliano, Rose nor Hendl have one tenth the stature of the giants on this recording but guess what? They know how to play together. And HvK? He has no clue.
NOT a Great Recording of the Century
This disc is proof that EMI's venerable Great Recordings of the Century has become just another mid-priced re-issue line.
EMI went all out to celebrate the return of Karajan to the fold by engaging the three outstanding Russian soloists of their era for the Beethoven Triple. Unfortunately, it is one of those occasions when all the notes are in place but it means nothing. Oistrakh and Richter felt for Karajan's plush accompaniments out of place - Richter later going so far as to pronounce the recording "dreadful". Rostropovich was not, apparently, in sympathy with those feelings and sided with the conductor. The soloists, lacking conviction in one another, show no sense of musical teamwork whatever. Karajan turns in another slick, autopilot performance. In short, the notes are there but the music is missing. The enterprise isn't helped by a woolly recorded acoustic.
The disc is partially redeemed by a good performance of the Brahms Double Concerto, but my advice is give this one a pass.
Great Brahms and the artists stumble in the Beethoven
Of course, all three soloists are amazing artists. Szell does a splendid job working with them. I am among those who nearly always find Szell's work outstanding, and this is no exception. The Beethoven should have been just as great, but the group just doesn't work well together. Maybe Karajan is to blame. He could turn in performances that sounded very "manufactured"--the sound is "managed," everything is glossy and smooth, and it comes across as seriously lacking in feeling for the values of the music. The triple concerto was listed among the 20 worst recordings or all times in the often amusing "The Life and Death of Classical Music: Featuring the 100 Best and 20 Worst Recordings Ever Made." Richter is quoted there as saying he hated the recording, but he was a pretty gloomy fellow.
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