TOWER RECORDS UNIVERSAL VINTAGE COLLECTION +plus
Clifford Curzon - Brahms: Tower Classic - Japan CD Limited Edition
Clifford Curzon - Brahms: Tower Classic - Japan CD Limited Edition
CD
Classical Music
May 6, 2015
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: PROC-1690
JAN/ISBN: 4988005891648
Number of Discs: 1
Country/Region of Manufacture: Japan
Credits:
Clifford Curzon
Description:
A masterpiece recording by Cazon & Sel that brings out both the symphonic character and the richly evocative inner world of this work! Brahms’ Piano Concerto No. 1 was nicknamed “a symphony with piano accompaniment” from an early stage due to its grand structure and the richness of the orchestral part. For this very reason, when conducted by a master, it offers the same sense of fulfillment as listening to a grand symphony. The most famous conductor of this piece is undoubtedly George Szell himself. He recorded it a total of five times, starting with his 1938 performance alongside the master Schnabel. Including live recordings, as many as six different versions were released. Carzon also recorded this work three times. Carson’s powerful touch, steady technique, and lyrical musicality, combined with Szell’s grand structural vision and clear, rich sound, bring out both the symphonic character and the richly evocative inner life of this work. His recording for Decca in the UK, made during the early days of stereo, is particularly striking. The album is paired with two short pieces by Brahms and Beethoven’s “Eroica” Variations, both performed by Cazon. In particular, the “Eroica” Variations, recorded in 1971 when Cazon was in his later years, is a magnificent performance characterized by a crystal-clear, radiant touch, a fresh vitality, and a rich, expressive quality. Although Carzon was a student of Schnabel, he never made any commercial recordings of Beethoven’s piano sonatas. Consequently, while it is not possible to fully grasp the entirety of his interpretation of Beethoven from these late-career recordings of the “Eroica” Variations, they are undoubtedly a precious audio resource. Furthermore, this recording is currently the second-to-last of those Carzon made for DECCA (the last being Schubert’s Piano Sonata No. 21, recorded in September 1970 and November 1972). The booklet features a new introductory essay by Nobuhide Mitsuoka. His lucid analysis, which unravels the relationship between Carzon and Ser, makes for a compelling read.
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