Reviewing the Naxos reissues of the 3rd
and 4th Concertos in this series, I found the orchestral
sound stridently poor but the piano sound quite good. In the "Emperor"
the orchestra sounds worse still, with a shrill, piercing edge to the
upper strings and raucous wind, and not even the piano is very pleasant,
clattery and jangly above a mezzo-piano. I haven’t heard other transfers
but I refuse to believe a 1932 recording has to sound this bad. I certainly
hope not, for the performance is enthralling. The London Symphony Orchestra
at that time ought to have been inferior to the London Philharmonic
(used for the 3rd and 4th) but maybe Sargent had
better relations with them for this is really taut, splendid Beethoven
conducting and hardly a string portamento in sight. With this backdrop
Schnabel himself is at his best. The tempo for the first movement is
surely ideal, majestic and very exciting when required, but with all
the time in the world to express the more poetic moments without losing
momentum. In short, all aspects of the music are effortlessly encompassed.
After a slightly stiff introduction from Sargent the slow movement has
a singing nobility without any unnecessary pulling of the phrases out
of shape. Only in the finale do Schnabel’s nerves show a little and
he has difficulty in shaping the main theme clearly, his excitement
apparently getting the better of him. But Sargent is a tower of strength
and holds things on course, and in fact Schnabel recovers his composure
rapidly.
The cello sonata is rather dully recorded, but the
sound is unobjectionable. It is notable that the balance and the dialogue
between the instruments is better than on many modern recordings, presumably
because the performers got it so right themselves. Schnabel was a wonderful
chamber player and one can just sit back and hear two great musicians
enjoying making music together – the very essence of what chamber music
is all about.
As you can see, the foul recording of the Concerto
didn’t stop me from appreciating what a great performance it is, so
perhaps others will feel the same way. All the same, if would-be purchasers
don’t vote with their feet Naxos will go on making transfers like this,
so I suggest waiting till something better turns up.
Christopher Howell
Artur Schnabel (pianoforte),
London Symphony Orchestra/Sir Malcolm Sargent (1), Gregor Piatigorsky
(violoncello) (2)