Audition: Brahms Piano Concerto No. 1, Op 10. Julius Katchen/London Symphony Orchestra/Pierre Monteux

 

This recording has a level of sophistication which so far in this survey is unparallelled. Cutting to the chase - Katchen, a formidable Brahmsian, has the skill and tone but his greatest quality I think is that he has all the time in the world to achieve what Brahms wants. Monteux - who knew Brahms has an eye for details which too many miss or pay scant regard.

The other pleasing feature is that Decca sound quality is dreamy, at the start of their golden era. Walthemstow Assembly Hall is a fine acoustic.

So in detail Monteux supports the opening pedal noy all the why to it’s end.  It is monumental too.  It’s sets the bar for the perfromaance and for the challenge to the pianist and thirdly to Brahms - here is aa man who wants to give us Brahms in it’s full-bloodied mode.  The LSO on the next passage, begining with the string trills are a bit untidy and lacking bass but he soon tidies it up. He’s positively severe when the timpani join the run up to the piano’s entry.

As Katchen enters it\s surprising just how very beautifully and fluent his playing is. to say that he is effortless is to skim over his graded touch, fluency and

By letter C1 we understand that Monteux isn’t running like a bull at a gate. It’s a measured approach but the details come through as Katchen roars on through the first cadenza - though he’s a bit lumpy in the final bars, uncharacteristically. With orchestra he’s imperious echoing the tone of Brahms’ approach.

But Monteux is not slack here too - just before C3 strings wind and horns are in a gossamer pp more like Debussy than Brahms. For the rest of the movement we get occasional rough patches but mostly it’s glorious. Especially the scrupulous detail Monteux reveals in the inner string writing all the way to the recapitulation. All goes well until the second poco piu moderato where Katchen seems a bit wooden.

In the final pages of this movement the stiffness settles and both conductor and soloist delivery a fantastic climax of fluency, detail and delight.

The second movement is - to my ears at least a threnody. Monteux is dlow snd deliberate and so is Katchen - his opening bars are haunting with superb playing and setting a scene of great sadness. This is picked up by the winds and strings with Monteux’s underline of horns and basses. Katchen  doubles down with touching phrasing until the orchestra picks prior to the heartbreaking climax. Monteux is insightful here focusing on the celli and basses. When it comes, the great swelling pedal has enormous depth and I dare say, daring. The final pages are spotless and one gets the feeling that the overwhelming sorrow is over.

PS it never is…

The finale gives Katchen a chance to shine. Monteux sticks to him like glue. Pianism here is fabulous. It’s delightful to pick out the details brings forward for example as the fugue at fig E fills the ear it’s Monteux’s focus on the horns and then the winds which beefs this bit of the movement up.

Thereafter for players, soloist and conductor the rest is a fabulous romp home. Full of zeal, bedazzlement and virtuosity aplenty. All caught in fabulous Decca sound.

No quibbles here 10/10/10

Must be heard.