András Schiff Plays Brahms Piano Concertos on Historical instruments – Worth Checking Out

Brahms’ Piano Concertos

There is clearly no lack of excellent performances of the two Brahms piano concertos. There are many masterful recordings from the 1960s with the great piano legends, Curzon, Arrau, Fleischer, Richter, or Gilels, often with the fantastic George Szell, that have stood the test of time, as the romantic repertoire has seen less of a sea change of recording style as have earlier composers (I can’t really enjoy non-HIP Bach concertos any more for example).

There also have been a lot of more recent recordings that are outstanding. One of my favorite sets is the Nelson Freire / Riccardo Chailly / Gewandhaus one from 2006, or more recently, the excellent (No. 1) / very good( No. 2) recordings by Lars Vogt with the Northern Sinfonia (that I just noticed I totally forgot to review here).

And as a nice coincidence, the very first recording I ever owned of No. 1 was with András Schiff as well, with George Solti on a 1989 Decca album.

So why would even a Brahms aficionado like me bother to buy one more recording of these?

The answer is called Blüthner. That is the piano that Schiff uses in this new recording.

Brahms: The Piano Concertos- András Schiff – Orchestra of the Age of Enlightening (ECM 2021)

Andras Schiff Johannes Brahms Piano Concertos Orchestra of the Age of Enlightenment ECM New Series 2021 24 96

The Blüthner is a piano from c. 1859, i.e. 1 year after the writing of Brahms first concerto. It has a quite different sound to the typical modern Steinway, less heavy, less brilliant, but more transparent.

To complement that, the Orchestra of the Age of Enlightenment is also clearly historically informed, playing on gut strings.

So, is it worth it?

I’d say yes (and I did purchase the album). I really like the difference in sound and transparency one gets from the historically informed approach and instruments. This is the first recording of Brahms concertos with a HIP approach that hit my radar screen, and it really gives you new insights into these works.

To quote Schiff himself from the booklet: “With the present recording we have tried to recreate and restore the works, to cleanse and ‘detoxify’ the music, to liberate it from the burden of the – often questionable – trademarks of performing traditions“.

Now, does that mean this will be my new reference recording? Clearly not, I won’t be abandoning the beauty of all the recordings I’ve quoted above. I really like the piano playing, although some rubati aren’t always my cup of tea, but particularly in the first concerto, I’d just like to see a bit more drama in the orchestral introduction.

But if you like Brahms, you should really check this recording out!

My rating: 4 stars

You can find it here (Qobuz)

Another Disappointing New Release by Seong-Jin Cho

Seong-Jin Cho

Cho is the winner of last years Warsaw Chopin competition, that in the past used to launch piano legends, e.g. Krystian Zimerman, or Martha Argerich.

However, in my previous review of his debut recording, I already was quite surprised by the choice of last years jury.

And unfortunately, his latest release, a full Chopin album with the piano concerto no. 1 and the ballades, confirms my disappointment.

Chopin: Piano Concerto No. 1 / Ballades – Seong-Jin Cho (Deutsche Grammophon 2016)

Let’s start with the good part. Piano concerto no. 1 is an overall convincing performance. He uses a lot of rubato, which I really like in Chopin, the brilliant parts are brilliant as expected, but the slower parts also get a well reflected treatment.

We are clearly not yet beating Zimerman’s both recordings on Deutsche Grammophon, but at least this is interesting and worth listening to.

The LSO under Gianandrea Noseda are a quite powerful partner. Let’s face it, the Chopin piano concertos aren’t the most satisfying material for orchestras, they often are nothing more than “background” for the soloist. But their playing here cannot be faulted.

Chopin: PIano Concerto No. 1 / Ballades Seong-Jin Cho, London Symphony Orchestra, Giandandrea Noseda Deutsche Grammophon 2016 24/96

The Ballades

The Chopin ballades are just amazingly beautiful. My favorite version is again, Zimerman, as already featured in my Top 10 Classical Pianists posts. Another favorite of mine, Murray Perahia, is also exceptional.

Getting to Cho, something is just wrong. The slow parts are often just plain boring, I can’t even fully put my finger on it.

When it gets fast, like after 2 min into Ballade No. 2 he becomes impressive, but more technically than musically, unfortunately.

It is very clear that Cho has amazing technical reserves that are barely even challenged here in these works. Maybe he would be perfect for Liszt, but here in the simple ballades, what you really need are nuances, and these are missing to my simple ear.

It pains my heart writing this, but I don’t think Cho is up there with his peers from previous competitions.

Let me know what you think, do you agree? Disagree? Think I’m completely nuts? Please share your comments.

My rating: 3 stars

You can find it here (Qobuz) and here (HDTracks)

UPDATE January 5, 2016: By now, some other reviewers have had more positive opinions than me about this album, I’d say the general consensus is around 4 stars. Doesn’t change my personal rating but I wanted to flag this to ensure you get a balanced view.