Customer Reviews

Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116

5 star:		(35)
4 star:		(0)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

These readings are legendary. I searched and searched for a good set, first trying Zimerman/Bernstein (horrid recording quality, saggy accompaniment) then trying some older recordings (Katchen/Ferencik, Kovacevich/Davis, Rubinstein/Ormandy), then even a different version by the same performer (Gilels/Reiner/CSO) and finally going to an old favorite of mine on the keyboard (Pollini/Abbado). In all cases, I was not really a fan of a) either the ensembles' un-Brahmsian (in my opinion) accompaniment or b) the soloists' interpretations or execution. However, these recordings, when I first bought them in the old DG Galleria release, were a revelation. Gilels' playing can best be described as monumental, and Jochum's direction is Brahmsian to the core. Jochum, who always excelled in music of this level of grandeur (listen to his Bruckner!), constructs a firm yet supple orchestral line which perfectly complements Gilels, who is by turns elemental and serene. These are magical performances, and the result is a rarity in that both concertos are amongst the greatest ever readings of the works (especially for #2; only Fleisher/Szell, Backhaus/Bohm and Anda/Fricsay come close - #1 has serious competition from Fleisher/Szell and Curzon/Szell). For the sake of comparison, in #2, the Fleisher and Backhaus sound rushed next to this performance, particularly the Fleisher; and while the Anda reading is much closer in terms of overall approach - ultra-legato - Anda stumbles occassionally during some of the most fiendish passages where Gilels does not. In Concerto #1, I'm a bit divided, as both the expansive performance on this disc and Szell's quick, incisive and direct accompaniment work equally well.
I suppose I should also mention that the Fantasias, op. 116, are masterfully interpreted here and are the best I've heard, far above and beyond Kempff, Katchen or Lupu. It's a great filler, although it would be insulting to call them that. A pity Gilels didn't live long enough to record Opp. 117-119. One final minor annoyance: I don't understand what happened to the Ballades Op. 10, which used to be included in the old Galleria release.
As for the sound: with the new DG Originals transfer, the sound finally matches the performances; gone are the whiny strings and the somewhat hollow sound from the original transfer, and in its place we have a recording that sounds almost brand new, with great clarity in the brass, piano, and orchestral forces. The liner notes are a little weak, which I've noticed on a lot of these "Originals" releases.
With all that being said: If you must only have one recording of these two concertos, then this is the one to get. Truly desert island stuff.

To my mind neither Eugen Jochum nor Emil Gilels received the acclaim appropriate to their genius while they were living. Even now it appears they are appreciated mainly by a small clique of true classical music lovers.

These two performances of Brahms' Piano Concertos are flawless. They were both recorded in 1972 when Jochum was age 69, and Gilels was 55. Two masters in their mature prime. Add to this The Berlin Philharmonic and recording by Deutsche Grammophon. This is perfect Brahms. The treatment of both concertos is equally superb, achieving a synthesis of piano and orchestra in performances of unfolding eloquence and power.

In 1987 at age 85 (a year before he died) Eugen Jochum was asked in an interview about his memory of great recordings. He singled out the 1972 Brahms with Gilels as perhaps the finest recording of his career.

Brahms's monumental piano concertos are my very favorite piano concertos. Therefore, I own many recordings of same. Nevertheless, this recording with Gilels and Jochum is my absolute favorite! It is a recording that I've listened to, at least, once a week for many years. Gilels and Jochum truly play these "monsters of the form" wonderfully capturing Brahms's fierceness as well as his tenderness beautifully.

Truth be known, I slightly prefer the 1st concerto-I know that is a musical sacrilege. My god, Gilels plays the hell out of that work delivering those (what I call) "trills of death" in the first movement in such a manner that it still sends chills up and down my spine no matter how many time I have listened to the work.

DGG has done a superb job in it transfer to this "new" CD form. I owned the original vinyl recordings; however, I feel these CDs give the recording more depth with the sound being far richer.

If you want to hear a legendary and sublime recording of the Brahms's Piano Concertos,buy these discs.

I had heard this was an excellent recording--and since Gilels is one of my favorite pianists, I bought this despite already owning two other versions of Brahm's two piano concertos. When I first listened to the opening movement of the first concerto, I was surprised. I hated it! I wanted my money back. It seemed way too slow, too ponderous and at times too sleepy and quiet. Then it occurred to me that I had had the exact same reaction that greeted this work at its premiere performance. As I recall, even the conductor didn't care for it, and the work was even hissed. Brahms got over it. So did I. When I listened the second time I couldn't imagine why I didn't like it. The more I listened, the more it agreed with me. This is indeed one of the best recordings of these works. The sound is excellent and has great range. It's full of sparkling clarity--never muddy. From the angry and intense growl of the opening drums, through the hush of profound poetry that came in gentle waves of love and truth, the range and personality of the instruments is superb.

Gilels playing is very moving. There is thoughtful subtlety and contrast here. The 2nd is full of the dramatic muscularity and passion that people have come to expect from this work. Excellent stuff. The Fantasien, capriccios and intermezzos make this 2 CD set a bargain. Buy it.

These recordings, and the remastering in the current edition, come as close to perfection as one could possibly want. Gilels and Jochum are never excessive with music that can easily be over-interpreted. The readings are truly Brahmsian, never close to the Rachmaninov-like indulgences many take with this music, especially #2. I recall the Pollini recording of #2 with Abbado as a good example of how NOT to play Brahms. While you know you are listening to music from the Romantic era with Gilels and Jochum, you also know that you are not that far removed from the Classical era either. I have no desire for any other recordings of these works now that I have these.

Believe all the 5 star reviews. This set by Gilels, Jochum and the Berliner Philharmoniker, belongs in every classical music library. The performances of both concertos are benchmarks. A serendipitous confluence of composer, pianist, conductor, orchestra, sound engineers, and technology.

In this double disc offering, we are treated to the coupling of Brahms' Piano Concertos supplemented by his Fantasies. The Piano Concertos number among the most formidable and longest in the repertoire, and we have the pleasure of the participation of none other than the great Emil Gilels as soloist. The Berlin Philharmonic accompanies under the baton of Eugen Jochum. Gilels, living up to and exceeding his repute, gives an immensely passionate and intensely profound reading of the works. In the First, Brahms' unrestrained fervour and emotions tear through the work. Gilels ably plays his part, the thunderous chords and fleet keyboard runs not deterring him as he churns out the music imbued with his insight. The first movement, especially, puts him in good light as he shows his powerful phrasing capabilities. The second concerto was written much later in Brahms' career. As a result, the outpouring of passion has mellowed and is controlled innately. As a whole, the work breathes new life into the meaning of passion and emotion. The orchestra turns in a consumnate performance with the horns leading in with the introduction of the haunting evocative opening sequence. Gilels enters with restraint and poignancy, but soon, throws all caution to the winds, as the ebb and flow of the melodies engulf us. He displays the virtuosity and transcendental illuminence he is famous for. The last movement contains much beautiful and haunting music for the piano. Aptly, with each shift in focus, Gilels manages to convince us. Truly a recording to take your breath away and to root you to the ground. The majesterial grandeur and impassioned emotions take this recording and place it in the annals of history and legend.

Jochum said this recording was the best thing he'd ever done, but obviously impressions vary. Maybe I had the advantage of limited expectations and a personal crisis the first time I heard it, but it literally made me shudder. The opening sequence, which others here have described as "ponderous," struck me with an almost religious clarity. I found it utterly convincing - a revelation, seemingly, of the true Brahms, which I had hitherto never grasped. I was never a big fan of Brahms before; his music seemed too dense, too murky. But this recording bring out an inner life in the music; a sleeping giant seems to awaken here. I listen to Brahms differently now.

I can name perhaps four or five recordings of similar power, including Furtwangler's version of Schubert's 9th with the Berlin orchestra, Beecham's version of Sheherazade with the Royal Phil., Bernsteins' version of Mahler's 5th with (I think) the New York Phil., and Haitink's version of the Shostakovich 5th with the Royal Concertgebouw. These are all desert island recordings in my opinion. Add now Jochum and Gilels' Brahms concertos.

I recommend this recording without reservation.

It would be unfair, perhaps, to require any recording of the Second Concerto to match or exceed the Furtwaengler/Fischer of 1942. That live performance is the non plus ultra in sheer visceral excitement; may, in fact, be the most exciting recording ever made (with the possible exception of the Furtwaengler Brahms Fourth Symphony from the 40s). At any rate, this Jochum/Gilels Second is splendid: broadly paced though flexible where needed, sumptuous, full of the strong sinews of healthy life, with a wise and generous measure of exultation and enthusiasm.

The First is hardly less grand. It is (at least to my mind) difficult for performers to pull off the beginning's fiercely concentrated and powerful explosion -- to mix properly the overwhelmingly volatile elements of a barely-controlled detonation, with the requisite elements of phrasal articulation. But our heroes here manage quite as well as Barenboim and Barbirolli: the result is, if anything, even more intense, and enjoys even greater freedom in "feeling its way" through the diverse sections of the exposition.

All in all, this set represents a tremendous opportunity to secure recordings of two indispensable concertos in near-definitive performances. Heartily recommended. (And the sound is great, too!)

Late in his career Emil Gilels took a turn into so-called monumental playing of Beethoven and Brahms that doesn't appeal to me half as much as his earlier, more fiery self. There is a great Brahms 2nd Concerto with Gilels the younger and Fritz Reiner that, to my mind, outshines this performance in every way. I have owned the present set twice and both times I discarded it after a few hearings. If you like slow, large-scaled Brahms for these concertos, the young Barenboim made a wonderful set with Sir John Barbirolli on EMI.