Brahms: Piano Concerto No.2 / Mozart: Piano Concerto No.27, K595

布拉姆斯这首四乐章钢琴协奏曲具有交响曲的特质，钢琴独奏部分虽不突出，但演奏技巧却极艰难，是许多演奏家望而生畏的高难度大曲。本片录制于1967年，为德国名家巴克豪斯的传奇演出，彼时大师已届八十三高龄，但琴音依然坚实、触键依然钢劲且洞察力依然深邃，不愧其「键盘狮王」的美名。指挥贝姆与维也纳爱乐的协奏，有宽阔的格局与纯厚质感，表现与大师相较不遑多让，益发使本曲说服力十足。补白的莫札特最后钢琴协奏曲由巴克豪斯奏来柔软圆润不染尘气，意境之美自然而生。 留声机杂志 完美的演出！更进一步来说这是全然令人满意的诠释…「巴克豪斯的琴音饱满度、柔软性及对音色的控制举世无双」…终曲无比的杰出灿烂，再无其它钢琴家能有如此优雅迷人的表现…在贝姆的诱发下维也纳爱乐协衬出独奏家的不朽荣光。 This remastered disc couples together the much admired Brahms 2 with Backhaus from 1967 with the much earlier Mozart 27, in mono, from 1955. In both cases the VPO is conducted by Bohm. There is a considerable difference in recorded sound, good for its age though the Mozart is, and this clearly shows the technological leap forward that recording made in the intervening years. On the subject of the recording, this is the new 24 bit remastered version and this has greatly increased the depth of field, the tonal range and the general sense of presence. This is simply because analogue tape recordings contained more information than could be put onto early generation CDs and explains why those CDs were so strongly criticised by owners of high end record players with LPs at that time. The latest 24 bit technology has rectified that issue and that improvement is clear on this disc. The Brahms was the last of three versions that Kempff made through his life and this one was made at 83 years of age when he still had a further 3 years of performing and recording life ahead of him. It must be immediately stated that his advanced age makes absolutely no apparent difference to his ability to play the music exactly as he sees it without audible technical compromise. Indeed, one of the marvels of this recording is the extreme clarity that he brings to the piano part. This, coupled with sensitive conducting and playing by the VPO, allows a constant flow of musical detail to be exposed and appreciated by listeners without recourse to false recording balances. Essentially Backhaus takes a non-dramatic view of this concerto which allows for much genial playing from the orchestra in a musical partnership. The first movement is taken steadily as is the following allegro appassionato. This is very different from the driven view of Richter for example or the strongly drawn versions of Gilels or Fleisher. This could be seen as somewhat controversial and certainly idiosyncratic as nowhere is there the slightest sign of the ‘appassionato‘ of Brahms‘ heading. Instead, what we have is something approaching gracefulness and gentility. The final two movements are where this performance really takes off and earns the ‘legendary‘ status. The slow movement is a simply beautiful rendition with solo cello playing plus generally sensitive and sumptuously warm orchestral playing to match piano playing of the same nature. The final movement is all about Viennese charm and grace with a trace of the dance about it. This is truly memorable and matches Brahms‘ description of ‘allegretto grazioso‘ precisely. In total therefore, a memorable and therefore legendary performance. The concluding Mozart is full of much of the same approach, undemonstrative playing of taste and balance typical of Backhaus. (His Beethoven 4 is really worth searching out on either CD or DVD). However the world has moved on in terms of period understanding and performance as regards Mozart and there are too many features of these performances which, though good on their own terms, are no longer the terms by which we recognise Mozart today. Even a few years later Curzon was more in tune with developing ideas and I would suggest that Perahia or Uchida on CD or Barenboim on Blu-ray from the late 1980‘s would be safer stylistic and musical choices. I would suggest that this disc is primarily a triumph for the Brahms performance especially, idiosyncratic though it undeniably is. The Mozart will be more of a personal response for those who are not bothered by developments in performing practice over the last 50 years since this recording was made. The 24 bit remastering for both recordings has been markedly successful and lovers of Backhaus‘ Brahms need not hesitate if considering an upgrade from a previous version.