Liszt: Piano Concertos [Original recording remastered]

Franz Liszt (Composer), Constantin Silvestri (Conductor), Colin Davis (Conductor), Bournemouth Sinfonietta (Orchestra), Bournemouth Symphony Orchestra (Orchestra), BBC Symphony Orchestra (Orchestra), John Ogdon (Performer) | Format: Audio CD

Product Details

• Performer: John Ogdon
• Orchestra: Bournemouth Sinfonietta, Bournemouth Symphony Orchestra, BBC Symphony Orchestra
• Conductor: Constantin Silvestri, Colin Davis
• Composer: Franz Liszt
• Audio CD (March 26, 2002)
• SPARS Code: DDD
• Number of Discs: 1
• Format: Original recording remastered
• Label: BBC Legends
• ASIN: B00005Y33B
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #512,886 in Music (See Top 100 in Music)

Track Listings

1. Piano Concerto No. 1 in E flat major, S. 124 (LW H4): I. Allegro maestoso

2. Piano Concerto No. 1 in E flat major, S. 124 (LW H4): II. Quasi Adagio - Allegretto vivace - Allegro animato

3. Piano Concerto No. 1 in E flat major, S. 124 (LW H4): III. Allegro marziale - Presto

4. Piano Concerto No. 2 in A major, S. 125 (LW H6): I. Adagio sostenuto assai - Allegro agitato assai

5. Piano Concerto No. 2 in A major, S. 125 (LW H6): II. Allegro moderato

6. Piano Concerto No. 2 in A major, S. 125 (LW H6): III. Allegro deciso - Marziale un poco meno allegro

7. Piano Concerto No. 2 in A major, S. 125 (LW H6): IV. Allegro animato

8. Mephisto Waltz (I & II), for piano No. 1 (Der Tanz in der Dorfschenke), S. 514 (LW A189)

9. Grande Fantaisie de bravoure sur La clochette, for piano (after Paganini: 'La Campanella'), S. 420 (LW A15)

10. Harmonies du soir, for piano (Transcendental Etude No. 11), S. 139/11 (LW A172/11)

Customer Reviews

Most Helpful Customer Reviews

8 of 8 people found the following review helpful:

5.0 out of 5 stars EMBARRASSMENT OF RICHES, May 23, 2004

By 

DAVID BRYSON (Glossop Derbyshire England) - See all my reviews
(TOP 500 REVIEWER)    (VINE VOICE)    (REAL NAME)   

This review is from: Liszt: Piano Concertos (Audio CD)

A belated and overdue interest in Ogdon's playing has prompted me to get these Liszt performances. I already own performances of both concertos by Richter and Cziffra, and of the first by Michelangeli. The piano technique of all these players is to all intents and purposes infinite and the composer is not a favourite of mine, so two or three versions would have been easily enough for me if I hadn't happened to hear a snippet out of the E flat concerto from Ogdon broadcast. It struck me right away that this performance might well be in the class of any of them, and so it has turned out.

The disc is from the BBC, part of what must be surely the most amazing treasurehouse of recordings ever assembled. The two concertos and three solo pieces all date from Ogdon's best period, before his heartbreaking illness. The concertos and the Mephisto waltz are live performances, with an understandably enthusiastic audience starting to applaud before the first concerto has finished. The remaining two works appear to be studio recordings, the Clochette fantasia being at an undisclosed location. What Ogdon might have developed into we will not now know this side of elysium, but the conviction is growing on me that his loss was perhaps even greater than that of Lipatti. Ogdon seems to me easily the equal of Cziffra and Richter in the concertos, although if you are very attentive indeed you may spot one passage that he had to modify on account of his Falstaffian girth and the limitations this placed on what he could play cross-handed. In the second concerto his conception is closer to Cziffra's than to the typically introverted reading by Richter. Ogdon gets slightly the better recording, but there is an infuriating amount of coughing, and at one point someone drops what sounds like a rotary kitchen whisk or a set of snail-tongs. These things are sent to try us, as someone once said of the bench of judges.

In the first concerto there is not a world of difference in approach from Ogdon, Richter and Cziffra. I find it very difficult indeed to express a preference, and now that I have all three of them I can decide which suits in me in any given mood. The most honest thing I can say to anyone trying to make a more limited choice is that it really is a matter of detail. To work methodically through the differences would stretch what ought to be a short review out to Proustian length, and it would be a matter of trying to describe minor differences rather than to rank the accounts most of the time. What makes me even more reluctant is that Michelangeli's performance seems to me to put them all in the shade. This really is a different concept of the work, although it's the piano-playing not the alternative concept that makes the difference for me. The opening is slow and a touch ponderous, although things don't stay that way for long. Where the difference in the view of the piece shows most is in the lyrical passages, where Michelangeli is much less dreamy and much more extrovert. I can take it either way. What still leaves me reeling is the sheer grip, power and evenness of those mighty fingers. I have to wonder whether even Liszt himself could play like this. The trills and tremolo sequences in particular have to be heard to be credited.

In the first Mephisto waltz I don't think Ogdon quite equals Cziffra for sheer swagger, but there's little enough in it. In general I'm inclined to feel that Ogdon is fractionally too fond of the sustaining pedal, but his enormous finger-power keeps the thickest textures clear, and I feel here as in some of his other recordings an exceptional sense of concentration and cohesiveness. If I were in any doubt about a fifth star for this record, the final number - the 11th transcendental study given in its original version, so difficult that even Liszt provided a slightly easier one - shades it for me.

A touching and fitting monument to a great player, a great artist and a great human being.