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Brahms: Piano Concerto No. 1 - Rittner, Ehrhardt

Brahms: Piano Concerto No. 1 - Rittner, Ehrhardt

MDG Live  904 1699-6

Stereo/Multichannel Hybrid

Classical - Orchestral


Brahms: Piano Concerto No. 1 in D minor Op. 15

Hardy Rittner (piano)
l'arte del mondo
Werner Ehrhardt (conductor)


The first Brahms piano concerto is a touchstone for every pianist but until now no-one has dared to record the work on historical instruments. Hardy Rittner is joined by the l’arte del mondo orchestra under Werner Ehrardt and the result of taking the risk of a live performance is a great recording.

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Review by Adrian Quanjer - August 20, 2011

A courageous attempt with serious draw backs. It is not the first time a period-instrument band ventures into romantic and later music. Fine examples are Philippe Herreweghe with his Mahler and Bruckner interpretations. Maybe not everyone’s cup of tea, but I do like them ‘for a change’. What we have here, however, is altogether different.

The liner notes go out of their way to explain why the Erard piano is the right choice for Hardy Rittner. Unfortunately, the one he is playing sounds miserable: no sooner has a note been played than it dies out. As though the dampers are permanently switched to the position ‘on’. This is a real pity as it spoils Rittner’s otherwise highly competent playing. The Streicher he uses in Brahms’ Early Piano Works would perhaps have been a better choice. The orchestra, fine though it is, plays and sound more like a baroque band; hardly suitable for Brahms.

For comparison I took Kovacevich/Sawallisch/London Philharmonic (EMI Classics) off my RBCD shelf. May be comparing apples and pears, but still, the difference couldn’t be bigger. In Werner Ehrhards’ conception the majestical beauty as well as the long, melodically flowing lines, so typical for Brahms, are missing. It sounds more like an old suburban tramway, noisily trundling forward with the cars clunking against one another and with the piano adding honky-tonk flavour.

Well, I do exaggerate, but it did make me feel more and more uneasy as the first movement developed. The playing was not ‘gripping’; quite the contrary. This is definitely not the Brahms we are so used to. On the other hand, why not try to go back to the ‘source’. Like I said: a courageous attempt, and if you are curious to hear how it may have sound in Brahms’ time, this is an opportunity.

But had Brahms had a modern concert grand and the London Philharmonic at his disposal, he would certainly have jumped to the occasion.

I do, therefore, recommend listening before you buy. You might agree with me that this concerto deserves a better piano, a larger orchestra and last but not least a conductor with a deeper understanding of Brahms.

I hold period orchestras and their specialized conductors in high esteem, but ‘Cobbler, stick to your last’ is, I believe, the applicable old saying.

The recording is not great but good enough for my ears.

Copyright © 2011 Adrian Quanjer and HRAudio.net

Performance:

Sonics (Multichannel):

stars stars

Review by John Broggio - August 31, 2011

Another triumph for Rittner (and a world first too!)

Even though I was confident that Rittner would produce the goods, not knowing l'arte del mondo & Werner Erhardt gave pause for thought, especially when reading the orchestral list the string numbers (of players, not desks) is: 8, 7, 5, 4, 3. Those worries vanished instantly - the strings are in no way overpowered by the timpani or brass (except when Erhardt wishes them to be) and they have a really rather alluring tone that is far more varied than the usual vibrato-laden affair we are served up. The vibrato-free opening & closing to the adagio is extraordinarily effective and transforms the music into something very touching and delicate. The contrast of this ending with the dramatic entrance of the 1854 Erard piano to the Rondo is then all the more enhanced and Rittner loses none of the surprise. As with the solo recitals of Brahms' piano music that Rittner has given us, the phrasing, pacing and overall (emotional) architecture of each movement and the piece as a whole cannot be faulted producing poetic lines as well as moments of high drama. The orchestral strings are good but the wind and horns cannot be compared favourably to those of the very best period instrument ensembles (like Gardiner's ORR or the OAE) but nothing is truly unforgivable but it is a shame that partners of equal stature to Rittner could not have been engaged. Still, the final peroration (with the driving timpani) make one wish to jump up and applaud - it is that good! The encore makes for fascinating comparison with Brahms: Complete Piano Music, Vol 3 - Rittner where it was played on a Streicher of 1870 - the brighter sound of the Erard does seem a little incongruous despite Rittner's best efforts.

Just a short comment on the Erard used here: as Rittner's own contribution to the notes make clear, this is the same type of piano that Brahms cancelled the premiere of this concerto because one was not available so greatly did he admire the characteristics of the Erard sound.

Recorded in concert over nights (and presumably some patches here or there) in Leverkusen's Bayer Kulturhaus, the MDG sound is remarkably good and the audience are impressively silent.

Very highly recommended for Rittner's account though those very sensitive to lapses in intonation may wish to sample first.

Copyright © 2011 John Broggio and HRAudio.net

Performance:

Sonics (Multichannel):

stars stars