Great Pianists, Volume 1 = BEETHOVEN: Piano Concerto No. 4 in G Major, Op. 58; WEBER: Konzertstueck in F Minor, Op. 79; RACHMANINOV: Rhapsody on a Theme of Paganini, Op. 43 – Wilhelm Backhaus, piano/New York Philharmonic/ Guido Cantelli (Beethoven)/Lili Kraus, piano/Concertgebouw Orchestra/Pierre Monteux (Weber)/ Artur Rubinstein, piano/New York Philharmonic/Victor de Sabata (Rachmaninov)
Guild GHCD 2349, 71:02 [Distrb. by Albany] ****:
The earliest of the three collaborations restored here by Guild features Hungarian pianist Lili Kraus (1905-1986), a pupil of Schnabel and a natural aristocrat of the keyboard. A Mozart performer of distinction, Kraus played sonatas with Szymon Goldberg and recorded concertos in Boston with Pierre Monteux (1875-1964), with whom she plays here in 1939 at the Concertgebouw. Monteux often appeared in Amsterdam at the invitation of Mengelberg and later at the request of Beinum. In very good sound for the period, the Weber–a one-movement concerto that set a model for Liszt and Stravinsky–proceeds with liquid assurance, a pearly confidence that we know from this work’s realizations by contemporaries Arrau and Casadesus. Once beyond the extended introductory material, the presto blasts off, volcanic and thoroughly electric in every bar. Transparent runs, contoured legato passages, and blazing fioritura saturate this wildly impulsive performance, which reaches its bold march in glowing colors, high woodwinds and tympani in smashing relief. The last pages simply skitter away at virtuoso speed and translucent artistry, a testament to the joie de vivre The Grand Lili could bring to the repertory she championed.
Artur Rubinstein (1895-1987) performed only a handful of the works of Serge Rachmaninov, but the Paganini Rhapsody remained a strong suit in his otherwise selective itinerary. This 1953 live appearance at the New York Philharmonic belonged to a series of guest-concerts led by the venerable Victor de Sabata (1892-1967), noted for his audacious, disciplined style that warranted praise equal to or surpassing that bestowed upon Arturo Toscanini. As per expectation, Rubinstein and Sabata push the variants for all the fleet drama they are worth, the music purring, galloping, or preening itself for a night of love. The clear echoes of Liszt’s Totentanz–via the Dies Irae–add the to eclectic romantic mix of emotions that radiate from the original Paganini caprice. The violin solo accompanying Rubinstein prior to the long segue to Variation 18–a perfect inversion of the original motif–is John Corigliano. For the last set of variations, Paganini fiddles while the New York Philharmonic burns with savage impulsive intensity. Rubinstein is in stunning form, and the collective momentum of the final pages quite convinces us of his stature among the giants of keyboard history.
The opening G Major Concerto of Beethoven enjoys the prestigious art of Wilhelm Backhaus (1884-1969) and conductor Guido Cantelli (1920-1956), live from Cantelli’s last season with us. This performance has had several CD incarnations, and this is as good as any. The collaboration achieves a divine balance of romantic and classic energies, each of the principals negotiating the application of ratio and eros. The chiseled roulades and sweet runs testify to Backhaus’ serene technique, while Cantelli’s forces fill out the “fate” motif that makes this concerto the Apollinian side of the Fifth Symphony. The liquid peroration to the recap in the first movement proves edifying and lustrous at once. The cadenza becomes a fiery toccata in arpeggios, runs, and trills, the stretti miraculously brilliant without percussiveness. The E Minor Andante communicates a fierce controlled tension, meditative and lyrical, the waters beneath stirring with disquietude that segue to C Major. Tender mystery opens the Rondo, the subdominant correcting itself to G Major and whirlwind energy. Though resonant with sparkling wit and easy panache, the latter pages shine with an elastic facility that insists emotional depth has supplanted any stereotypical bravura in this amazing music, the Aeolian Harp of all piano concertos.
–Gary Lemco
