Both these performances
are well known to collectors. The Rosenthal is perhaps best
served on Biddulph 040 (transferred by Ward Marston) where the
concerto is coupled with other works by Chopin. But there is
also a Pearl transfer, which enshrines, characteristically,
more shellac noise but may also appeal by virtue of its more
direct top. The Hofmann has seen service on VAI 1002 where it’s
coupled with the other concerto and an excerpt from the E minor
Allegro in a performance with the BBC Symphony conducted by
Hamilton Harty – subfusc sound but fascinating and brilliantly
played by all concerned, not least Harty, one of the premier
accompanists of the day. Dante HPC002 has also transferred the
two concertos.
Hofmann’s performance
with Barbirolli of the F minor is one of the most kinetic and
dramatic around. Of indulgence, metrical games-playing, extended
tempi there are no signs. The element of reserve that Hofmann
brings works enormously to the work’s advantage – though of
course the more flamboyant and overtly romantic responses of
his contemporaries bring their own rewards. Of the transfer
choices I would discount the Dante which did reasonable service
but now sounds outclassed in matters of tone and frequency response.
This Altara has been transferred at a higher level and the scuffles
ironed out – but if you’re after Hofmann’s performance in a
Chopin context then the repertoire strongly directs you to VAI
who have first class transfers.
Rosenthal had studied
with Mikuli, a Chopin pupil and this informs his playing of
the E minor concerto. He had absorbed traditional variants in
his performances – though the cuts in the opening and closing
movements were imposed by the record company in order to minimise
the number of discs. Weissmann, one of the reigning house accompanists
in Berlin, directs with considerable composure and control;
his soloist plays with magnificent aristocratic refinement and
largesse. The transfer is inclined to be a touch noisy. There’s
a deal of swish and the copies used deteriorate toward side
ends – the side join at 6:10 in the first movement is rather
disruptive. My preference is for the Biddulph.
The pairing of Hofmann
and Rosenthal makes sense; one a live recording in 1936, the
other a commercial undertaking completed in 1931. Two indisputably
great pianists and two great performances. The questions relate
to pairings and transfers.
Jonathan Woolf
Moriz Rosenthal (piano)
