The
D minor is one of Ančerl’s less well-known
concerto performances, taped in the Rudolfinum
in February 1958. It has the advantage
of a very individualistic soloist
in the now equally little-known German
pianist Erik Then-Bergh and the disadvantage
of one of the most odd and swimmy recording
balances from the Rudolfinum that I have
heard. Hanover-born Then-Bergh (1916-82)
had made his debut in Berlin in 1938.
During the War he’d had the opportunity
to work with Abendroth, von Karajan and
Jochum and after it he performed mostly
in central Europe - his native country,
Austria and Czechoslovakia. Collectors
may recall his recording of the Reger
Piano Concerto, though in the main he
kept to the standard classical and romantic
repertoire. The Concerto performance is
notable both for his occasionally capricious
moments and for both his and Ančerl’s
eliciting of often hidden or occluded
detail in the score. The conductor
favours – or does the recording exaggerate
his favouring – the horn harmonies and
the pivotal brass entry points; it should
be said however that this mono has the
disconcerting habit of being simultaneously
swimmy acoustically and then startlingly
vivid – and in unexpected ways such as
when the horn parts sweep from their accustomed
perspective to suddenly half cover the
soloist.
I’m rather glad that
some digital frailties in the first movement
passagework were retained (though the
piano could have done with more exact
tuning) because Then-Bergh shows character
in retarding rhythmic drive and then moving
forward – aided by the conductor whose
command of string elasticities is excellent.
The soloist is certainly poetic as are
the characterful Czech winds (note the
expressive, almost chalumeau playing of
the first clarinet) and the orchestra
generally is fully supportive, though
not sinewy or aggressive. The slow movement
is well phrased [track 2; 6.10]
with an intensity sometimes heightened
by Ančerl’s creative balances – I
assume they’re all his, because the percussion
emerges dully in the balance. I liked
Then-Bergh’s Allegretto-like strut in
the finale as he tries to stress the humour
(often underplayed by klaviertigers) latent
in the drama and power. The strings are
well contoured [track 3; 4.20]
and the tempo is natural and well sustained.
All in all this is a solid performance
showing character and exploring intriguing
localised incident, ultimately let down
by the recording. In that respect things
are much improved for the 1963 Tragic
Overture. This receives a warm and eloquent
reading [track 4; 3.20] full of
ardent phrasing and aspirant string lines.
For reasons already given
enthusiasm for this volume in the Edition
will probably be confined more to admirers
of conductor or soloist. But even then
this is no routine run-through and will
command the kind of respect that is its
due.
Jonathan Woolf
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Concerto No.1 in D Minor, Op.15 Maestoso
Concerto
No.1 in D Minor, Op.15 Adagio
Concerto
No.1 in D Minor, Op.15 Rondo. Allegro
non troppo
Tragic
Overture Op.81
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