As in any full course will be found there for the exceptional and less good, duplicates and ... failures. But it is fascinating to chronologically follow the path of the artist, from his early 78s, where it lacks a lot of notes, but not the enthusiasm will remain its brand, the first phonograph in the early 50s, where he displays remarkable technique (I assume, and he who never made a false note cast the first stone ...) and the later recordings, more measured tempi, more contemplative expression, sometimes more distant. But from the beginning, we find this bronze sonority, homogeneous, never brutal, especially the sense of cantabile and breathing of each musical phrase. What pianist he never sang as well with his instrument? At the top of the successes, I would put any chamber music, especially with the Guarneri (Brahms!). Celebrity (deserved) of its interpretations of Chopin, he had the merit to get rid of any sentimental sentimentality, may be obscured the merits of his Brahms (with Reiner Concerto 1 and 2 with Krips, Ballades op.10 sonata 3) Schumann (Carnival Fantasy Pieces op.12) Beethoven (Concertos with Krips, sonatas 14,21,23,26) Rachmaninov (2 Concerto and Paganini Variations with Reiner) ... In terms of disappointments, Preludes by Chopin (Miking terrible!) And especially ... the little music of the twentieth century! Yet he knew all the piano Szymanowski but saves only 4 Mazurkas and Sinfonia Concertante, which was dedicated to him, like many other works (Rude Poema Villa Lobos Fantasia Bética de Falla, Stravinsky Piano Rag Music .. .) also absent. About Stravinsky, there is a public record to Carnegie Hall Petrushka (which was also dedicated to him) in the cabinet: the first movement is catastrophic ... (octaves!) But it gets better after that. Too bad we do not have all of Iberia. With the prestige he had acquired, he could have imposed all these parts ... To be objective, it will be recalled that early in his career (before the first world war!) It was whistling when he played Ravel or Debussy (the "contemporary", which he left us some beautiful examples). Much later, he regretted not taking the time to work the sonatas of Prokofiev. Technically, it should be noted that most of the records in this case benefited from remastering, very successful, as the cabinet itself, accompanied by a luxurious trilingual booklet. So "Pianist in Technicolor"? "King of false notes"? Forget the public aspect of the character, and let us carry his interpretations, heartfelt, clear, singing, moving ...
