mp3 vbr ~ 94 | vinyl rips | 39 MB

Benno Moiseiwitsch - BEETHOVEN: Concerto No. 5 (LPO, George Szell, 1938) & RACHMANINOFF: Rhapsody on a Theme of Paganini (LPO, Basil Cameron, 1942) [vinyl rips by F. Reeder]



Бенно МОИСЕЕВИЧ 1890 – 1963), ф-но


БЕТХОВЕН – Концерт № 5 для ф-но с оркестром ми-бемоль мажор, Ор.73

Лондонский филармонический оркестр
Дирижёр – Джордж СЭЛЛ

Запись 1938 г.


РАХМАНИНОВ – Рапсодия на тему Паганини для ф-но с оркестром, Ор.43

Лондонский филармонический оркестр
Дирижёр – Бэзил КЭМЕРОН

Запись 1942 г.


Оцифровки пластинок 78 об./мин. произвёл Ф. Ридер



The same wit that courses through the Scherzo to A Midsummer Night's Dream returns, albeit in a drier and more pungent form, in the Rhapsody on a Theme of Paganini. Though the composer's stunning recording would be a hard act to follow, Moiseiwitsch actually tops it in some ways, with a more varied rhythmic and tonal palette while nearly as vibrant in his pianistic brush strokes. His performance is also a tremendous amount of fun.

More impetuous in the early variations than Rachmaninov, Moiseiwitsch seems to revel in the twists and turns of the solo part while playing with an abundance of character. He gives the final measures of Variation VI a hushed quality, perfectly presaging the atmosphere in the following variation; and after the initial statement of the Dies irae in Variation VII, he emphasizes the bass notes, making them toll like a church bell in a graveyard - a highly effective touch that both the composer and Hector Berlioz would have relished.

He does not play down the jazz-like syncopations in Variations VIII-X, but points them up still further (you could almost imagine Duke Ellington at the keyboard at that instant - not so far-fetched, since Rachmaninov was on friendly terms with the Duke), while the Dies irae in Variation X sounds as though it just crawled out of a grave. These touches never come across as caricature, but as strong and uncanny underlinings of atmosphere and detail.

Moiseiwitsch does not short the middle variations of charm or mystery, and he plays the famous Variation XVIII as a gentle ballad, inflecting the melody as a teasingly phrased vocal line while providing an astonishing varied accompaniment in the notes that wrap around it. Nor does he fail to bring the work to a rip-roaring conclusion, despite a technical slip or two in the final moments (recordings at this time were much closer in spirit to live performances, so occasional missed notes or fluffed passages were not considered unusual, as they are today). Compared to a performance like this, most modern renderings of this piece seem unimaginative and pale, and makes this disc all the more essential listening.

Jonathan Yungkans (обозреватель для The Flying Inkpot)

http://inkpot.com/classical/rachpfc2moi_app.htm
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