I recently reviewed a bargain box of Dvořák
Concertos from the same source as these Brahms recordings. That was
a generally very recommendable set featuring some remarkable recordings
from the early to mid-1970s. This 3 CD Brahms box comes – at least mine
came – without booklet notes and so sharp-eyed readers will have
to consult Gramophone, Schwann and maybe German databases to ascertain
the provenance of these otherwise undated performances.
I wish I could be as enthusiastic
about this Brahms set as I was about the Dvořák. Karin Lechner
plays both concertos, the op.39 Waltzes and Klavierstücke
op.119. In terms of overall timings hers are not remarkably slow performances
– but they are uneven in passagework, momentum and tempo relation. The
First Concerto’s Maestoso opening movement begins at a determinedly
granitic tempo and sounds inflexibly ponderous in places and the piano’s
initial entry is unassertive, rather cool with some quite prosaic phrasing
as the movement develops. The movement is also marred – and the brash
recording doesn’t help – by some unnecessarily over-energetic passagework
toward the end. I liked the slow movement much better. At a more freely
moving speed with, it’s true, a rather unfocused wind choir behind her,
Lechner plays with attractive intimacy. In the finale there’s rather
a lack of orchestral involvement – the bass counter-themes are simply
not brought out enough (though whether the responsibility lies more
with conductor or recording it’s hard to say). There’s also a feeling
of leadenness and though Marturet eventually whips up some excitement
there’s something rather frantic and forced about it.
The Second Concerto receives an altogether more satisfying
performance. The orchestra is not on top form though the principals
of the Symphoniker do have attractively individual tonal profiles. The
principal flute is especially piquant in his first movement solos. Doubts
began to emerge over the level of exaggerated dynamics the orchestra
indulged in – there is a distinct feeling of effortfulness about it
– and the sense that this is imposed and not organic. But there is also
some reflective and inward playing from the soloist as well as assured
string playing. The second movement is heavily emphatic – with a directness
in the beautiful and conciliatory "tune" that whilst unindulgent
is also a little faceless. The unnamed cellist in the third movement
has a lean and tightly focused tone – and the oboist shines here as
well. Despite some disruptive left-hand work from Lechner the movement
goes well enough, as does the less problematic finale. I liked the op.39
Waltzes rather more than her playing of the op.119 Klavierstücke.
There is a degree of gusto to offset the generally heavy weather nature
of her playing of the concertos and the unevenness of the other solo
works.
The Violin Concerto opens weightily, slowly, stolidly.
Van den Booren has a rather thin tone with some forcing and a rather
limited range of tone colours. There’s also a little unsure bowing in
the passage from 11’00 in the first movement. But I did enjoy the way
that Marturet, unlike the bass counter-themes in the piano concerto,
brings out some rich orchestral strands. But the first movement ending
really is unforgivably portentous. The orchestral playing is generally
adequate though the glassy sounding strings in the finale are not especially
attractive and the orchestra’s wind section sounds consistently superior.
The Double Concerto is probably the pick of the bunch.
I don’t know how often Starker has now recorded it but there seems to
be a new or re-released Starker Double every few months. With his partner
Emmy Verhey, not immaculate technically but pliant in phrasing, he is
in good though not inspired form. There is a genuine sense of phrasal
sensitivity from both string players, a palpable engagement and an attractive
chamber intimacy in their exchanges and dialogues. Starker’s tone has
a centre-of-the-note core to it which contrasts nicely with Verhey’s
more pliable and less coiled tone. Joo conducts the Amsterdam Philharmonic
with an understanding superior to that of Marturet.
As in so many cases of this kind – an unwieldy box
set – I think you would be better advised to select your performances
elsewhere.
Jonathan Woolf
Karin Lechner, piano *+ 