Customer Reviews

Decca Recordings, 1949-1964, Vol. 1

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This box of 4 CDs groups some of the familiar and less familiar recordings (1949-1964) of the acclaimed English pianist Clifford Curzon (1907-1982).
Curzon was considered as one of the greatest interpreters of Mozart and Schubert of his time and this box proves, if anything, this tag has stood the test of time.
Disc #2 has his well-known recordings of Schubert's 4 Impromptus D. 935 (from 1952) and the Sonata in D major D. 850 (from 1964). The Sonata especially is a marvel of profundity and sensitivity, and should figure in any serious Schubert collection.
The revelation of this box is however disc #4 with never before released recordings of Mozart's Piano concerto #23 and #27, dating from 1964 with the Wiener Philharmoniker under George Szell. (Curzon, the perfectionist never wanted these recordings to be released, yet since his death his family have finally given the green light.) Both concerti are outstanding readings.
Disc #1 is arguably the least attractive of the set with early recordings of Beethoven's "Emperor" concerto (with the London Philharmonic under Szell, from 1949) and of Tchaikovsky's 1st (with the New Symphony Orchestra, under Szell, from 1950). The "Emperor" is fine enough, but the somewhat poor sound quality is a letdown (and Curzon re-recorded the work on several occasions), while in the Tchaikovsky he doesn't really nail it to my mind and the rapport with Szell isn't always there.
Disc #3 on the other hand assembles Curzon's familiar recordings of Franck's "Symphonic Variations", Litolff's "Scherzo" (with the London Philharmonic under Boult, from 1955/58), De Falla's "Noches" (with the New Symphony Orchestra under Jorda, from 1951) and Alan Rawsthorne's Piano Concerto #2 (with the London Symphony Orchestra under Sargent, 1951). All have been released before under various guises yet have acquired classic status and especially the intense reading of the De Falla is not to be missed.

The artwork of this new Decca "Original Masters" series (which always seems to come in "limited editions") is agreeable, but the recording dates given are not always accurate. This issue will probably disappoint collectors of Clifford Curzon's recordings, as there is just one disc with novelties, but for those music lovers who still need to discover the art of the great London pianist, this box is just the right thing.

Now that Decca and Deutsche Grammophon, among others, are all part of Universal, we have seen some interesting things happen, and not all of them bad. What I'm referring to in this case is the new "Original Masters" Limited Edition Box Set series. Finally, the classical music world has taken a page out of the jazz reissue handbook -- put out a quality product featuring rare recordings but make its availability limited, and people will snatch it up. In the "Original Masters" series, first DG and now Decca have each reissued five box sets, of 4 to 7 CDs each, in distinguished, space-saving slim paper boxes, though the style of packaging is different. The DG sets feature 50s style graphics design on their covers, while the Decca ones have a distinctive rainbow/spectrum pattern on the spines and banners, and a black-and-white photo of the artist in question on the face of the box.

This particular set features rare Decca recordings of the great pianist Clifford Curzon from 1949-64. The set is subtitled "Volume 1" which I presume (and hope) means there will be another box set forthcoming! As the track information is non-existent above, I will try to be of assistance. The first disc contains Beethoven's "Emporer" Concerto with George Szell and the London Philharmonic (LPO) from 1949, and Tchaikovsky's 1st Concerto also with Szell, but with the New Symphony Orchestra (NSO), from 1950. Disc two is all Schubert Piano Works -- the Four Impromptus, D935 (1952) and Piano Sonata in D Major, D850 (1964). Disc three offers less standard fare with Franck's Symphonic Variations and Litolff's Scherzo (both with Sir Adrian Boult and LPO from 1958, though see below about the date), Falla's Nights in the Gardens of Spain (Enrique Jorda/NSO, 1951), and Rawsthorne's PC No. 2 (Sargent/LSO, 1952). CD Four returns to the standard repertoire with Mozart's Piano Concertos Nos. 23 & 27 with Szell and the Vienna Philharmonic from 1964.

The album information indicates that this is the first ever release of the Schubert Sonata, Franck, Litolff, and Mozart PC 27. I was a bit confused by this in terms of the Franck and Litolff pieces because I already have Curzon and Boult performing them on a Decca Legends CD that features Curzon playing the Brahms PC No. 1 with Szell. After re-reading the liner notes to the Decca Legends disc, I discovered that Curzon, Boult and the LPO recorded the Franck and Litolff pieces twice, in 1955 and in 1958, and that Curzon approved the '55 Franck and the '58 Litolff for release. That answers my question as to the Franck, but both this set and the Decca Legends disc indicate the Litolff is from 1958, so there must be a typo somewhere. I tried to compare both versions, but to my ears they were indistinguishable (boy, I thought jazz alternate takes were tough!). Regardless, this is a terrific set, and I guess the consolidation of the music industry isn't so bad after all, as long they don't forget about Volume 2!

First an oddity on CD1: at 4:56 in movement 1 of the Emperor and at 11:18 and 14:04 in the first movement of the Tchaikovsky are pitch fluctuations so noticeable that I thought there was something wrong with the CD or my computer (or CD drive). But now I think they were just fluctuations in the master tapes that couldn't be rectified (though I don't know why they couldn't have been digitally corrected). Would be interesting to know if others hear these same pitch fluctuations in their copies.

That being said, the performances are crisp and clean in good mono sound for the time. Curzon's playing is so lyrical and expressive that it's a delight to hear. Szell's conducting is crisp and attaca with very clear orchestral timbres. I think he gives great accounts of both these war horses and it's delightful to hear a younger Curzon in these pieces. I never heard Curzon in these works before so I can't compare them to later stereo recordings but these accounts sounded impressive indeed.

CD2: All Schubert. The Four Impromptus, D. 935 are lovingly played. Curzon's sensitivity and sensibility is almost painfully evident in how beautifully he plays these pieces. These are some of the best interpretations I've ever heard of these relatively well-known pieces. These are also from an older mono recording. (I'm not sure if he re-recorded these as well in stereo but it would be interesting to hear if he did). The sound for 1952 is quite good.

The big D Major Sonata, D.850 is a stereo recording from 1964, in, as to be expected, better sound. It is marvelous as well though a Richter recording I have (had?) I liked better. The Curzon recording compared to the Richter account is much finer and aristocratic and not quite as dramatic as the Richter. On the other hand, one could argue, it is more classically proportioned, with less rubato than the Richter account. I guess what I mean to say is it is an equally fine account; just that the Richter was the first recording I heard of the work and I got that interpretation into my brain.

CD3: Franck Symphonic Variations, Litloff Scherzo, De Falla Nights in the Gardens of Spain, and Rawsthorne 2nd piano concerto (only non-familiar work to me): The Franck and Litloff are in suprisingly good sound for the era (1958). The Franck is brilliant and virtuosic yet with that unmistakable sense of balance and rythym that is so characteristic of Curzon's playing. The Litloff is the same....excellent. I'm not sure if this is the same recording I had in an earlier CD with the Brahms 1st piano concerto and Szell but I think that's a later recording.

The De Falla and Rawsthorne are both older mono recordings. But, again, for the time, their sound is surprisingly good in my opinion. I'm not as familiar with the De Falla and never heard the Rawsthorne before but my impression is they are fine performances.

CD4: Mozart Piano Concertos Nos. 23 and 27 with George Szell conducting. These are stereo performances from 1964 and are different than the performances on a 2-CD set of Mozart piano concertos released earlier with Britten and Kertesz and the ENglish Chamber Orchestra. Curzon rejected these performances for release during his life though it's difficult to see why. Again, they are excellent.

All in all this 4 CD-set is a valuable addition to anyone interested in Curzon. I look forward to obtaining the other sets in the series!