Customer Reviews

Brahms: Piano Concerto No. 2 / Mozart: Piano Concerto No. 27

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I am grateful to Decca for combining both recordings of the final piano concerti composed by Brahms and Mozart; the Brahms is one of the finest I have heard. Wilhelm Backhaus demonstrate why he was one of the most acclaimed pianists of his generation, performing with much power, yet capable of ample tenderness when the score demanded it. I'm greatly impressed with his superb technical brilliance, which he maintains throughout both dramatic performances. In Karl Bohm he found a superb accompanist, who leads the Vienna Philharmonic in one of its usual warm, vibrant performances. There is ample splendid chemistry amongst Backhaus, Bohm and the orchestra. And yes, the sound quality is surprisingly superb, inspite of the age of the original analogue recordings.

I would echo what the other reviewer said of this record: this is definitely one of the best Brahms if not the very best. And this is so on the account of both the painist and the conductor. Meanwhile, I have heard a few other perfomances side by side including Arrau/Haitink, Gilels/Jochum, Brendel/Hintink and even Karin Lechner/Marturet etc.

This was not the only collaboration between Backhaus and Bohm even on Brahms No. 2. Here Bohm is most extraordinary, not only his Brahms but also his Mozart, so that both pieces in both parts are equally inspiring. The balance between the piano and orchestra is by far the best and there is a special chesmistry between the two, so that there is a lot of poetry on top of music. Suffice to say that this record offers a most gratifying musical experience that is now almost extinct.

There is a saying that if we are looking for excitement from Brahms, one should turn to his Hungarian music, or perhaps to a lesser degree his No. 1 Piano Concerto written some twenty earlier, at a time when Schumann passed away and he himself in a turmoil. No. 2 we is essentially involved with the inspirations he incepted from the beauty of the Alps when he was approaching 50: when he was steady and mature enough. Well, perhaps such background doesn't show, and doesn't count at all: great music is open to all kinds of interpretation after all.

Yet in view of such a background, criticism against Arrau's tempo or overall approach is hardly sustainable. The truth is, the performance as quoted is most satisfying, a perfect model for exams and competitions. Note particularly his beautiful tone, and his phrasings, so much so that all his notes are meaningful, each one of them, quite ready for first instance digestion. There was renowned Russian conductor who found Richter "oppressive" and in Arrau a living Brahms years after he had accompanied both pianists on Brahms.

Gilels wasn't quite as "oppressive" as Richter albeit both were demanding, each in their own way. But the emphasis on the whole range as well as on each and every voice on the piano, armed with his sheer masculinity. That often put Jochum in a awkward position. Being a authoritative Bruchnerian, Jochum knew full well what this masculinity is about. Probably he did not quite agree with the pianist, and he was so busy rounding off such effects with the orchestra- and he has done it with so much grace. With respect, Brendel/Haitink is the least satisfying of all, that is to say including Karin, who simply lacks masculinity.

However, take note that not everyone would readily appreciate Backhaus' greatness right away. His playing ( or recreation if you like) often baffles you at first, posing a lot of questions to you. It at first puzzles one as to why Mozart Concerto no. 27 was to be played that way, and even more so his Brahms. And the result is, we have to go deeper and deeper into the score and the background etc.

But the remastered sound is really superb so that you will clearly hear the grandioso sound of the Bosendorfer he was playing, and you will note the subtle balance of his left hand part and when the pedel was on and the effects that he was painting etc.

It is also noteworthy that Martha Argerich (Gulda's pupil), after she has become one of the world's top most pianist, remarked that she particularly found Backhaus amongst all recorded masters of the piano instructive ( not Rubinstein, not Richter.) And Idel Biret ( famous Naxos artist & Kempff's pupil) finds Backhaus' Brahms the golden yardstick.

Last but not the least, the record is IN STEREO. So are Backhaus' Decca Beethoven Sonatas ( all with the exception of one ). The recorded sound of the sonatas are almost, but not quite as good as this one as remastered.

This disc contains 2 concertos in the same key (B flat major) by Mozart and Brahms, performed by Wilhelm Backhaus on piano, with Karl Böhm conducting Wiener Philharmonker. The performance of Mozart's B flat concerto might not be everybody's favorite; it is an earnest and sincere performance nonetheless. The real treasure of this disc, in my opinion, is the Brahms B flat concerto.

Allow me to make a bold and personal statement: I have never heard any Brahms concerto performance (live or on record) which comes close to this recording in its grace and charm, and above all its understated yet overwhelming emotional power. Both the piano and orchestra playing are absolutely marvelous. However, what makes this recording so special was that some "miracle" seemed to have happened during the recording session: The piano and orchestra sounds are completely meshed with each other, and the music making seemed to come from a "whole". The excellent sound engineering and masterful transfer all add to the whole experience. This is a performance I worn out 2 audio cassettes (in grade school) before getting a CD. -- There is no way I can describe the "experience" in words. You have to experience it yourself!

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Backhaus performed in seventy seasons, and established himself as one of the greatest German pianists. However, English speaking countries (notably U.S. and U.K.) have curiously not warmed up to him. He met with Brahms and heard him conduct both his piano concertos with d'Albert (Backhaus's teacher) as soloist. This performance is not Gardiner's "revolutionary Brahms". It is, on the other hand, Teutonic tradition at its finest. Bachkaus would die 2 years after this recording was made. This recording, together with some of his Beethoven recordings, is a testament of his pianism.

By the way, this has a sister version Brahms: Piano Concerto No.2/Mozart: Piano Concerto No.27, but they are both discontinued. Grab either one of them while they are still available.

My highest recommendation.

I absolutely love Brahms piano concerto No. 2. I own several versions. This one (Backhaus with Bohm and Bachauer on Mercury Living presence) are my favorites.

What makes one version appeal to one over another is a personal one. But, there is so much beauty, charm and grace in this version. It does not try to overwhelm you but yet it moves you. It is not overly blazen fast (like Richter's version with Leinsdorf) but lyrical (oh what a beautiful andante with cello in the 3rd movement!). The balance between piano and orchestra is superb (engineering is superb). The sound is glorious.

It truly deserves its legendary status.

Brahms' second Piano Concerto has long been a favorite of mine, and I own many recordings of this old warhorse. My absolute favorite stereo versions have been Gilels/Jochum/BPO, Fleisher/Szell/CO, and Anda/Fricsay/BPO. Well, I'd have to add this recording to the list of seminal interpretations. I don't often think much of Bohm's Brahms, but he is in absolutely fine form here, clearly illuminating Brahms' many musical lines and providing excellent dialogue with the soloist in this, the very definition of the symphony-concerto. Bohm has a special relationship with the VPO, and they display their characteristic warm tone and almost innate mastery of this repetoire throughout, playing nearly flawlessly and framing a perfect backdrop for the soloist. There might be one flat spot from the woodwinds at the end of the first movement, but it's a minor blemish.

And Backhaus...what can I say about Backhaus? Both he and Bohm share a grand view as to how to conceive this work, and their shared vision leads to a fully cohesive and brilliantly executed performance from start to finish. At the ripe old age of 83, Backhaus outdoes many performances of more widely acclaimed artists many years his junior. His playing is noble and patrician, and never sounds taxed or laborious as he expertly charts the myriad obstacles Brahms presents the soloist here with ease. One senses a wealth of power lingering just below the surface of his playing. His interpretation is always in complete service of the music, never using his skills for showing off but rather choosing to display epic virtuosity on a much grander scale. I am astounded by what he accomplished on this record, and that a man with his wealth of experience was able to retain his technical abilities so far into his autumn years.

For sake of comparison, I still prefer the DGG Gilels recording above all, and in contrast this recording eschews the ultra-legato approach employed by Jochum, instead favoring less dynamic phrasing and slightly less tempo modulation. It is probably more similar in approach to the Fleisher recording, yet somewhere in the middle of the two in terms of total time. While it isn't my personal first choice, I could easily see it being that for many others, and it is a recording I plan on revisiting frequently.

The sound here is excellent on the Brahms recording, expertly captured by Decca's engineers. Sound is vintage, a warm and full late-60's analog. The Mozart here is from 1955, in mono, and is less sonically pleasing, though also a very fine interpretation if not a truly great one. Bohm was a well-regarded Mozartian and Backhaus offers an refined and aristocratic reading, but there are better versions available, most notably Gilels/Bohm/VPO and Anda conducting the Salzburg Mozarteum. The liner notes are well-written and informative, if slightly brief.

Highly recommended. If you've not heard Backhaus before, I suggest you do so quickly. He is not well-known this side of the Atlantic, but he was one of the last of the true piano giants of the 20th century. This magical performance is an excellent way to get acquainted with his great artistry.

This extraordinary CD features fine studio recordings of two famous piano concertos played by the great German pianist Wilhelm Backhaus (1884-1969): he is accompanied here by Karl Boehm/Vienna PO. Boehm was probably not the best conductor of the XX century: his manner was at times heavy and brutal, and the orchestral sound lacked clarity - this is occasionally noticeable in Brahms' concerto on this CD. Despite of all this, Boehm was a serious and deep musician who had an affinity with Backhaus' approach to German classics. Their collaboration was fruitful and Decca's choice of Boehm in these recording is fully appropriate.
Brahms' 2nd concerto is often called 'the concerto of all concertos' and Mozart's last concerto is held in high esteem, too. Both Backhaus' recordings on this CD are great and I don't want to miss any of them. However, if I were to choose just one, I vote for Mozart: Backhaus's touch is just so gorgeous and his playing so natural! Many pianists put up for show how deeply they feel Mozart's music and how sweet they play it. Backhaus did not curry favour with listeners and did not emphasize his virtuosity down the drain - and he was a great virtuoso. That's why his Mozart style was so organic.
Both Backhaus and Boehm were younger to the time of Mozart's session (1955) than when they tackled Brahms for the last time (1967). This can be felt. I do not mean that Backhaus is struggling with technical difficulties - he is in an astonishingly good form given his age - but the overall approach to Brahms's 2nd concerto is recessed and less energetic than in the previous recording of the same music made by Backhaus and Boehm in 1939. To my mind, the best achievement in this 1967 stereo remake of Brahms' concerto is Andante: Backhaus plays it slower and more heartfelt than in the previous versions.
It is amazing that the producer of the 1967 Brahms recording, Ray Minshull, recollects in the liner notes to this CD that he has been a big fan of the previous Backhaus' recording of the 2nd concerto made in 1952 and 'wore out two copies of the mono LP' before he applied for a job to Decca. That mono LP certainly deserved idolizing - it is simply the greatest recording of the 2nd concerto all way round. Backhaus is joined there by conductor Carl Schuricht who was an equally serious musician as Boehm but had a far greater command of an orchestra. And in 1952 Backhaus was fifteen years younger than on this CD!
Buy this CD and enjoy it but if you love Brahms and Backhaus try to get the mono version with Schuricht: it is available on Schuricht's 5 CD-set (Decca 475 6074)- you will find there some other absolutely first-rate recordings of Beethoven and Brahms.

The Teutonic refinement of Wilhelm Backhaus has always been a veiled mystery. I knew from the profound admiration of Arrau for his pianism, thanks to a common friend who pitifully passed away fifteen years ago.

Maybe you may agree with this kind of hard reflexive and granitic Brahms. In fact Clifford Curzon employs a similar approach in his well know and famous recording with Georges Szell. I think Brahms must sound less rational and much more visceral, according his beloved and well known finals in so many works of visible gypsy tunes. Brahms also possessed humor, but if you want to inject major conceptual resonance and underline a major emphasis on span, (as Klemperer did it with Beethoven, for instance), go for this one.

WILHELM BACKHAUS IS WELL KNOWN FOR HIS INTERPRETATIONS OF BEETHOVEN BUT HE WAS ALSO A GREAT BRAHMSIAN AS SHOWN IN THIS WONDERFUL RECORDING. KARL BOHM IS ALSO A SPLENDID MATCH FOR BACKHAUS AS THEY COMBINE THEIR MUSICAL INSIGHT AND STRENGTH AS IF THEY WERE ONE OF THE SAME. BACKHAUS PRODUCES PLAYING OF MASSIVE POWER AND MASCULINITY UNLIKE ANYONE ELSE YET HE CAN PRODUCE THE LIGHT TOUCH WHEN THE SCORE CALLS FOR IT. BACKHAUS ENTERS THE FIRST MOVEMENT DELICATELY THEN SNAPS THE DOORS DOWN WITH THAT MONOLITHIC SIGNATURE SOUND MELTING WITH PASSION,POWER,AND A CONFIDENT OPTIMISM. THE SECOND MOVEMENT HAS ERASED THAT OPTIMISM AND REPLACED IT WITH A GRIM CRY FOR RESCUE AS BACKHAUS GOES TO BATTLE WITH HEROIC VIGOR AND A OVERWHELMING ANXIETY BACKED UP BY KARL BOHMS ATTENTIVE ACCOMPANIMENT. BACKHAUS PLAYS AS IF HIS HANDS WERE GLUED TO THE KEYS AS HE MAKES EVERY NOTE STAB AND STICK THRU THIS VOLCANIC MOVEMENT. BACKHAUS'S FINGERS NOW BRUSH THE KEYS TENDERLY AS HE PLAYS THE FRAGILE DESPONDENT THIRD MOVEMENT WITH A KEEN SENSITIVE INSIGHT THAT IS MATCHED BY THE SUPERLATIVE PLAYING OF THE VIENNA PHILHAMONIC'S CELLIST. THE TWO MAKE VERY TOUCHING AND ELOQUENT CONVERSATION. THE FOURTH AND FINAL MOVEMENT FINDS ORCHESTRA AND SOLOIST PLAYING WITH THE GRACE,VITALITY,AND PLAYFULNESS OF A CHILD THAT IS A JOYOUS THING TO HEAR. WILHELM BACKHAUS AND KARL BOHM MADE MUSICAL POETRY TOGETHER HERE AND THIS RECORDING PRESERVES THAT MOMENT FOR ETERNITY. O.F.