The thing that makes this performance outstanding, despite orchestra's Chopinianly accompanying role, is that the conductor and the pianist made out of it Brahms' 3rd piano concerto as it sounds more orderly, the sound and the temporal segments are robustly "squared", via Germanic musical combative martialesness too - you can hear its episodes regularly in Beethoven and Schubert, in Wagner, Mahler and Shostakovich. They are psychologically needed for us all to bring us back to life, to kick our buts to wake up and fight. When properly and timely administered they are recuperating and life saving (militaristic episodes in Beethoven's 5th piano concerto and Schubert's 9th symphony). When it comes to this performance its aesthetic tenderness coupled with the recording roughness and its, in my opinion, Germanic approach, makes it real, here and now alive before us. Not only that, it sounds like life in all of its complicating complexity lived and experienced in the real time. Live concerts music goers know that dyring the season exciting concers are not the rule, despite the program and the performers. Exciting non-boring electrifying concerts are a rarity. What we usually have is the "elegant" pedestrian middle of the road. Even a mess with conductor's and orchestra's bad day is better, a mess where the groups that last week flawlessly perforned tasking irregularly polirhytmic Stravinski now cannot connect and there's a constant falschieren in the solo parts - a failure is better than mediocrity. In the case of this recording and performance we have a triumph. And an outstanding one. If there was a radio speaker intro and outro I wouldn't have minded if you left them in. I was a maniacally avid radio listener who recorded hundreds of musical programs on his 90 minutes Phillips cassettes. Plus radio sound engineers, same as sound engineers designing old LPs, knew the value of sound amplification through loudness that replicates live concerts. Despite its superiority in sound clarity CD sound, a norm today, is not life - this it!
This person's performance isn't particularly skilled, but for some reason, there's something captivating about it. Also, the orchestra's performance is exceptionally good.
@@billtroop4236 You can put it that way, huh? So conversely, although technically flawless, there are also incredibly boring performances musically, which are actually quite common in society.
As you know, in studio implies an edited take. This isn't. There is such a thing as an unedited live radio recording made in studio which this seems to have been. So - live in studio)
Unusually robust tone compared to most interpretations- very interesting and pleasant to hear. Thanks for a great selection as usual. This concerto is a very interesting work in general; it's rare to find an actually bad recording of it, but because of its mild character rare to find a stand-out performance (it takes a creative pianist).
The thing that makes this performance outstanding, despite orchestra's Chopinianly accompanying role, is that the conductor and the pianist made out of it Brahms' 3rd piano concerto as it sounds more orderly, the sound and the temporal segments are robustly "squared", via Germanic musical combative martialesness too - you can hear its episodes regularly in Beethoven and Schubert, in Wagner, Mahler and Shostakovich. They are psychologically needed for us all to bring us back to life, to kick our buts to wake up and fight. When properly and timely administered they are recuperating and life saving (militaristic episodes in Beethoven's 5th piano concerto and Schubert's 9th symphony). When it comes to this performance its aesthetic tenderness coupled with the recording roughness and its, in my opinion, Germanic approach, makes it real, here and now alive before us. Not only that, it sounds like life in all of its complicating complexity lived and experienced in the real time. Live concerts music goers know that dyring the season exciting concers are not the rule, despite the program and the performers. Exciting non-boring electrifying concerts are a rarity. What we usually have is the "elegant" pedestrian middle of the road. Even a mess with conductor's and orchestra's bad day is better, a mess where the groups that last week flawlessly perforned tasking irregularly polirhytmic Stravinski now cannot connect and there's a constant falschieren in the solo parts - a failure is better than mediocrity. In the case of this recording and performance we have a triumph. And an outstanding one. If there was a radio speaker intro and outro I wouldn't have minded if you left them in. I was a maniacally avid radio listener who recorded hundreds of musical programs on his 90 minutes Phillips cassettes. Plus radio sound engineers, same as sound engineers designing old LPs, knew the value of sound amplification through loudness that replicates live concerts. Despite its superiority in sound clarity CD sound, a norm today, is not life - this it!
Absolutely brilliant
This person's performance isn't particularly skilled, but for some reason, there's something captivating about it. Also, the orchestra's performance is exceptionally good.
Not particularly skilled yet captivating? I believe that's called artistry.
@@billtroop4236 You can put it that way, huh? So conversely, although technically flawless, there are also incredibly boring performances musically, which are actually quite common in society.
... live in studio...?!
live on earth)
@@ADGO It's either live or in studio... A live recording and a studio recording are completely different... If you see what I mean...
As you know, in studio implies an edited take. This isn't. There is such a thing as an unedited live radio recording made in studio which this seems to have been. So - live in studio)
@@ADGO So it seems... Lol!
Unusually robust tone compared to most interpretations- very interesting and pleasant to hear. Thanks for a great selection as usual.
This concerto is a very interesting work in general; it's rare to find an actually bad recording of it, but because of its mild character rare to find a stand-out performance (it takes a creative pianist).
Easier to tell or judge weak Chopin concerto no 2 than Chopin no 1!