Now there is a box that adds symphonies, in recording with the Philharmonia Orchestra (or the New Philharmonia) Brahms: Symphonies, openings, piano concertos (5 CD Box Set).
PIANO CONCERTO FIRST
Set very high by critics, this first version of the concerto may be adored or hated by the public, simply take a ride on the Web to find out. Where some are expressive beauty, elegance, authenticity Brahms, lyricism and poetry, others regret the weakness, lack of energy. There certainly has reason. Customers have also the same judgments on the second concerto.
Massive blocks early with Giulini lose their overwhelming appearance and contrasts between episodes are reduced in favor of a soft lyricism, poetic and generous. The conflict, drama, move to a dolorism, a surrender to sadness or pity. It's beautiful, rich shades, very gentle, and also challenging. But one also reaches a limit: the Romantic concerto, especially the latter stage a confrontation between the orchestra and soloist, what is perceived very well in one case quite opposite, the Curzon-Szell Version with an overbearing orchestra and a discreet piano, almost crushed victim. Here Giulini is in line with the introvert piano, meditative, yet voluntary, of Arrau; and confrontation is avoided. There is a concentration of interiority or introversion, and certainly austerity, especially for the latter, by the pianist. The last two movements continue in the same style, but especially in the first step is the most surprising and in slow motion it can be recognized by all. This version requires a lot, but when we managed to get in, and it will not be unlimited, it offers a rare quality of emotion.
PIANO CONCERTO SECOND
If in the opus 15, Giulini reached a certain limit, a minor concerto, replacing confrontation with pianist by communion in introversion and full of sweetness and lyricism tending towards dolorism in celui- one, with the same style and the same poetry, the result may be considered less surprising. But at the same time, those who love the interpretation of the first can find the second least exceptional.
The tempo of the Allegro non troppo seems very large at first, but it is inhabited and even taking, warm and poetic. The piano Arrau is voluntary, not very flexible, naturally harsh, austere and flying demonstration. Here, unlike the First Concerto, the discourse of the orchestra and the piano do not tend to get confused. Giulini's poetry remains somewhat doleful in the Allegro appassionato. In the Andante, Arrau convinces mystery.
But, and this is strange for Giulini is the final Allegretto Grazioso who is the most successful, which does not mean that others are not. The rhythms are well marked when necessary. There is an excitement, a sense of progression. And ineffable moments of mystery, which is not surprising with such a leader.
HAYDN VARIATIONS OPENING TRAGIC
They differ in tempo, the Variations are in a slow tempo qu'appréciait Giulini even before old age, while the opening is for once made quickly. But apart from that, we found, as in the concertos, a flexible construction that reduces the pillars and beams of the building, so that the music live more freely there. Architecture is inconspicuous.
The VARIATIONS ON A THEME OF HAYDN obviously do not have the sharpness of those of Klemperer, Szell, van or Beinum Haitink nor the dynamism of the first three. They bathed in a haze, a blur, for the reason that I said that there are more iridescent than light. Appeasement and even an edgy languor (in the classical sense ...) transmit moments of mystery and grace, nevertheless supported free of sentimentality. For an opposite option, which is also another summit, see especially Beinum van.
OPENING TRAGIC not the same languor because of its fast and flexible energy. It boasts a wealth of rare shades. Everything is internalized in this version, nothing is first degree or displayed.
