At first, this slowness gives feeling overwhelmed, which is not in contradiction with the direction of this movement. Nothing sharp as with Szell-Curzon, the sound reverberated hardly facilitate. Jochum impress but refuses to live his tempo, providing a sense of calm and smooth (without invasion indescribable, misty, almost mystical, to Arrau-Giulini), which also characterizes the two concertos. This chief was nevertheless capable of nervousness, see some elements of its integral DG 50s; more recently his Haydn Londoners, especially DG, were particularly supercharged. We sometimes little interest in details, maybe, but if we fall asleep, we are left in paradise ... So rather than Bruckner Schubert is believed, the days when we want to seek reconciliation. Gilels overwrites keys, much like Schnabel, the sound of the piano occupy the possible time is the opposite of Curzon. The piano, the immense resources, seems to have no other purpose than to work with the orchestra. This disc is mesmerizing, especially the first movement, the others hardly new calling remarks, but remaining in excellence that never away from Brahms, the agreement of the soloist and the leader is perfect, in the interiority. With admiration one feels the overall curve, when in the last movement.
I also like their second concerto, though slightly less successful, but they are only nuances, and others are of a different opinion; it is in any case less original. Without pull the blanket to him, Jochum, calm and warm, he at times inhibits the valor of Gilels? To compare, we can listen to it in his recording with Reiner.
Despite the reverb, stamps come out clearly, Berlin orchestral flourishes in a luxurious depth (as we say that a chair is deep ...), a little of course massive, some interventions drawing particular attention and admiration. The orchestral weight is obviously an advantage in Brahms, composer air less than, for example, Mozart or Mendelssohn, especially when it is associated with a feeling of fullness. Moreover, it is far from the suffocating padded sound of Karajan the same time, each group or each instrument solo instrument in his remaining individual stamp. Overall, these two interpretations of concertos are among my favorites, and, I dare say, the most Brahmsian.
The Opus 116 Fantasies are more than a complement. Lofty, sober and reserved without excess, a fully mastered technique, not surprisingly, they deliver a poem, sometimes quiet, sometimes more striking, under the fingers of most marmoréen pianists. Intensity is nuanced with admirable precision. Again, this is one of the peaks.
