Ivan Fischer's version of these ever-popular classics is as valid an essay in stylistic restoration as the most scholarly period-instrument performance of Bach or Handel… The transcriptions have been reworked and in one or two movements an improvised cimbalom part has been added, played by a well-known Hungarian musician, Kalman Balogh. Not a record for purists perhaps, but I found the results invigorating and thought-provoking.- S.J. Gramophone, March 1987.
I haven't enjoyed a set of performances of the Hungarian Dances so much since I played them with the local youth orchestra at the age of 14. In a way, Ivan Fischer's version of these ever-popular classics is as valid an essay in stylistic restoration as the most scholarly period-instrument performance of Bach or Handel. - S.J. Gramophone, March 1987.
Following his recent dazzling Liszt recital (CDA67085), Stephen Hough turns his attention to the finest works of the young Brahms. Brahms's three piano sonatas are early works, culminating with the epic F minor Sonata. Spanning five movements, with dramatic and wildly virtuosic outer movements, and a hauntingly beautiful slow movement (described by Claudio Arrau as "the greatest love music after Tristan, and the most erotic"), this is one of the defining piano sonatas of the mid-nineteenth century.
This Zimerman recording of the Brahms Piano Concerto no. 1 may have received some critical lambasting when it was originally released. However, despite this, I find that this recording is unjustly underrated because in its own special way it plumbs the depths of Brahms' heart and soul. Zimerman, although he recorded this in his late-twenties, interprets the solo part with insight, and does not go over-the-top with pianistic pyrotechnics, as most other pianists tend to do. Bernstein leads the Viennese musicians in a sympathetic accompaniment that serves as a perfect foil to Zimerman's parts and allows him to integrate into the orchestral texture. And the DG recording, although not entirely clear, is characterised by the atmosphere and bloom of the Vienna Musikverein, despite the extreme forward balance of the piano.
Bernard Haitink conducts the Royal Concertgebouw Orchestra in Brahms’s great orchestral works, including the complete symphonies. The concertos feature three great soloists: pianist Claudio Arrau, violinist Henryk Szeryng, and cellist Janos Starker. "No one, I trust, will deny that Arrau has lived with, wrestled with, and in a truly terribly way ’known’ the D minor Concerto for more years than most of us can consciously recall. Where contemporary pianists have often tended to refine or domesticate the concerto, withdrawing it from the world of heroic endeavour, Arrau has always done the reverse. No pianist, apart possibly from Serkin in his several recordings, has communicated so formidably the work’s scope: its seriousness and its anxious, tragic mood. Often Arrau makes free with the text. But the vision is huge, the technique astonishing. Haitink is a worthy accompanist."