In 1976, at the young age of fifty-four, Hungarian pianist Geza Anda
died and the world was robbed of, what Bryce Morrison in his CD notes
describes as, ‘a rare voice and presence’. He goes on
to highlight some of the qualities that Anda possessed and which singled
him out as a great pianist of stature. Not only was he endowed with
a wonderful technique, but his playing had the distinction of a range
of tonal colour and subtlety. Perhaps it is significant that Alfred
Cortot and Edwin Fischer were the pianists that inspired him the most.
Here are two live studio performances. The Brahms has been issued
before, but is here re-mastered. The Tchaikovsky is a first CD release
and thus new to the Anda discography.
One of the war-horses of the concert pianist’s repertoire, the
Tchaikovsky first concerto is, in the minds of many including myself,
overplayed. So, in reviewing this disc, I was looking for a performance
which had something new to say. I was not disappointed. Anda has induced
me to reappraise this work completely. I must admit, I had never associated
Anda with this concerto, having admired him mainly in the music of
composers such as Mozart, Schumann and Bartok. That said, I discovered
that he had recorded the concerto with the Philharmonia under Alceo
Galliera in 1953: issued by Testament on SBT 1064. There is also a
concert performance from 1973 with the Stuttgart Radio Symphony Orchestra,
conducted by Ferdinand Leitner, issued on LP by Ariola Eurodisc in
1981. I have heard neither of these performances so cannot offer a
comparison.
‘
Electrifying’ the booklet says of the Tchaikovsky
performance. I can certainly concur with that sentiment. Anda and
Solti give us a full-blooded and compelling reading. Excitement is
generated throughout, on the wing. Anda displays incredible command
in what is for many pianists a technically demanding work. Yet, he
is able to convey the lyricism in the expressive passages, and especially
in the gentle, eloquence of the second movement.
The Brahms Piano Concerto no. 2 was a constant companion throughout
Anda’s performing career. He first played it under Mengelberg
in 1941. There are eight instances documented in his discography.
My first impression, when listening to this 1954 performance, was
that he had truly got this work under his skin. This is a noble performance
where, once again, his fabulous technique enables him to overcome
the technical challenges that this work throws at the pianist. You
really get the feeling that you are listening to a four-movement piano
symphony. Klemperer, one of the greatest conductors of the twentieth
century, provides admirable support. He understands the musical structure
and architecture of the work. While famed for his slow, ponderous
tempi, certainly late on in his career this approach is not applied
here. His timing for the first movement is 16:19. This is as opposed
to the DG performance Anda recorded with the Berlin Philharmonic under
Ferenc Fricsay in 1960 which runs at 18:42. He shaves a minute off
Fricsay’s other three movements. Though the DG enjoys much better
sound, I preferred this for its spontaneity and for the heat of a
live performance.
Although almost sixty years old these two works are heard in reasonably
good sound with the Brahms having the slight edge. They will be required
listening for those who, like myself, are Anda devotees.
Stephen Greenbank
Masterwork Index: Brahms
concerto 2 ~~ Tchaikovsky
concerto 1
