Brahms: Piano Concerto no 1 / Curzon, Szell [Import] [from US]

~ George Szell, London Symphony Orchestra, Adrian Boult

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Product Details

�I�[�P�X�g��: Clifford Curzon, George Szell
��: Adrian Boult, London Symphony Orchestra, London Philharmonic Orchestra
CD (1999/8/10)
SPARS Code: ADD
Number of Discs: 1
Format: Import, from US
Label: DECCA
Run Time: 73 ��
ASIN: B00000JXZ6
Average Customer Review: No customer reviews yet. Be the first.

Amazon.co.jp Sales Rank: #128,941 in ��y (See Bestsellers in ��y)

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1. Piano Concerto No. 1 In D Minor, Op. 15: I Maestoso

2. Piano Concerto No. 1 In D Minor, Op. 15: II Adagio

3. Piano Concerto No. 1 In D Minor, Op. 15: III Rondo: Allegro ma non tropo

4. Symphonic Variations For Piano & Orchestra

5. Concert symphonique No.4 Op.12: Scherzo

Product Description

Amazon.com essential recording

This version of Brahms's massive First Concerto was an instant classic when released in 1962 and recommending it now is still a no-brainer, especially in this effective remastering. Curzon gets to the heart of the music. He captures the high drama of the symphonic opening movement, and his rapt concentration makes a profound effect in the Adagio, famous for his controversially slow tempo. Szell is his equal here, conducting with passion. The way he screws up the tension in the orchestra's opening statement and then, through judicious rubato and a warming of the string tone, makes the second subject come alive is a mini-lesson in great conducting. With Boult, Curzon's Franck is on a similarly lofty plane, and the Litolff is a worthy filler. A best buy. --Dan Davis

From Amazon.co.uk

This version of Brahms's massive First Concerto was an instant classic when released in 1962 and recommending it now is still a no-brainer, especially in this effective re-mastering. Curzon gets to the heart of the music. He captures the high drama of the symphonic opening movement, and his rapt concentration makes a profound effect in the Adagio, famous for his controversially slow tempo. Szell is his equal here, conducting with passion. The way he screws up the tension in the orchestra's opening statement and then, through judicious rubato and a warming of the string tone, makes the second subject come alive is a mini-lesson in great conducting. With Boult, Curzon's Franck is on a similarly lofty plane, and the Litolff is a worthy filler. A best buy. --Dan Davis

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