The Brahms heart

This is a thirty Fleisher which records in Cleveland these monuments romantic Concerto: the first Concerto in February 1958, the second in October 1962. Between these two Brahms find instead the five Beethoven Concertos (in 1959 and 1961, in the wake of 9 Symphonies Szell), but the Concerto No. 25 of Mozart (1959) or diptych dedicated Schumann / Grieg (in 1960), well before Brahms Rhapsody Rachmaninov and Franck Symphonic Variations; many discographic heights! Fleisher and Szell do elsewhere were not at their first attempt since they measured each other for the first time since 1946 (Fleisher's only 18) 'in the 1st Brahms Concerto, already! We also recall in passing that Fleisher prevailed in 1952 the prize for the first session of the Queen Elisabeth Piano Competition in Belgium (after the 1951 violin session, won by a Leonid Kogan), again with the 1st Brahms (an available archive in the cabinet of the 75th anniversary of CMIREB).

A 1st Concerto which is also discographiquement twisted the name of George Szell, as it is to many other major references commands: Schnabel, Curzon, Serkin! In this recording from 1958, Szell and the Cleveland Orchestra gleaming are at their peak, offering us a dramatically intense Brahms, almost fiercely turbulent, energetic and passionate, finally perfectly in tune with a Fleisher who may sign here as electric Concerto No. 1 of all the discography! And we admire the fluidity and urgency of a strong and beautifully colored play, superlative rhythm control, which allowed to freely express a non-demonstrative lyricism (a performance in this Concerto!), But who also knows distill intelligence , a poetry and persistent tenderness, ultimately offering us a kind of intimacy Brahms irresistible breath.

From the first agreements signed after the storm George Szell, one is carried away by the enthusiasm of the American pianist, sublimated by this particular sense of rubato that instills a particular Vitalie an impressive vision of inclusiveness; throughout a complicity between the leader and pianist who really does wonders (listen only resumed in the monumental first movement!). Fleisher we still gray in the second movement, which deftly avoids pathos of the trap to release foremost great nobility, mingled with a certain reverence which translates into mind rarely observed Benedictus autograph. A final rondo full of energy, full of sap Beethoven, irresistible mix of power and expressive refinement, finishing a record that has never been surpassed.

In the 2nd Concerto, Fleisher shows always passionate, but takes quite openly a chamber party (in a more blatant in the second half of the concerto, in particular during exchanges with the cello), developing a fascination with humility, full delicacy without affectation; between the heroism of a Schnabel and introspection of Arrau, the apparent simplicity of Fleisher highs of poetic expressiveness and natural traction (up to an amazing final allegretto, which takes an unusual density, far from the country walk that is generally understood). Paradoxically, however, seems less Szell get involved here, which does not prevent many joint moments of true sound painting, splendidly night colors. A 2nd Concerto habituellemment that are considered less successful than the first, but which nevertheless remains one of the most beautiful that we have registered!

Of course, these masterpieces have a bloated discography, and major references abound; include at least, in their style: Gilels / Jochum, Backhaus / Böhm, Serkin / Szell but Arrau / Giulini, Kovacevich / Sawallisch ... To which we must of course add the individual recordings (a must in the 1st Curzon, Richter or Fischer in the second), as well as other excellent versions Zimerman / Bernstein, Freire / Chailly, and more recently that of Nicholas Angelich. Impossible to list them all; still recall just two inescapable: the often forgotten Bruno Leonardo Gelber (EMI) and the historic achievements of Arthur Schnabel, Fleisher which claimed descent, available from Naxos particular (with George Szell, Sir Adrian Boult and with).

In addition Concertos, waltzes and Handel Variations, recorded in 1956, have rarely been adorned with such panache and so obvious. The Variations and Fugue on a Theme by Handel present a mix of strength, delicacy and color overflows, with a final fugue of remarkable coherence and expressiveness rarely heard. One remains amazed and captivated inexorably through that sort of rhythmic hypnotism and engine, sound fireworks, this profusion of intentions perfectly declaimed. You come out with two certainties: these variations are a small masterpiece Brahms and Leon Fleisher is undoubtedly the champion! The fact that op.39 Valses seem simple in the US is already enough fingers to gauge the quality of interpretation. Phrasing, contrast, joint, same architecture, all combine to render justice to these pieces sometimes underestimated, well beyond the simple (though not easy) ease: Fleisher reached again here Brahms heart, concentrated in thumbnails that have never appeared so well written.

Offered in the "Masterworks Heritage" splendid (even regarding the recordings in mono), this double album is in the forefront of all Brahms indispensable discography! Finally, note again that these are also available in Brahms economic cabinet Classical Masters, with the 5 Concertos by Beethoven and the 25th of Mozart.