Audition: Brahms - Piano Concerto No. 1, Clifford Curzon/Concertgebouw Orchestra/Eduard von Beinum #BrahmsOp10

 1953, Decca

Clifford Curzon and Edward van Beinum were an ideal pairing for their recording of Op 10 in the early 50s. The key elements for a great recording were all in place too: a pianist and orchestra at the top of their game, a fantastic venue with a gorgeous acoustic and an experienced Brahms conductor. They were brought together by Decca, a recording company which was highly respected for the sound quality of their recordings. It’s also important to understand both the pedigree of the orchestra - particularly familiar in the works of Brahms. Mengelberg’s contract had been terminated in 1945 so van Beinum had restored a broken orchestras reputation to the excellence we hear in this recording of 1953.

Curzon had recorded the work for Decca in 1947 (with Jordan conducting the National Symphony Orchestra (an English Orchestra). It’s so instructive to hear the two, but that review will follow this for reasons which will become obvious.

From the first page Curzon produces a full rich tone, beautifully deployed, which carries the musical along both with muscle and a great deal of excitement , nuance and beauty.

It’s also important to understand both the pedigree of the orchestra - particularly in Brahms - and the sound it could muster in the early 50s. 

Neither pianist or conductor were challenged by the scale of this music. There is a fantastic clarity about Curzon’s lines and balance. For example it is beautifully flexible and lyrical in the first solo in the first movement but throughout he maintains a firm, driving, direct sound.

And some respects this recording is the most athletic that I’ve heard so far. Curzon’s approach to the final pages of the first movement is breathtaking. He starts the second movement with beautiful clarity but even in the second page he droops a little and the mood is temporarily rather flat. 

Subsequently I think he’s trying to capture the mood moving a little too fast. Then again in the subsequent couple of pages. He recovers for the core of this movement, as he approaches the point where the dense pedal point threatens to overwhelm . This movements final moments are fabulous.

Curson sounds a little weak in the passages with cello at the beginning of the last movement. The Orchestra take a lot of the weight during these passages - they shine and it’s exciting. When after a series of trills, Curson is left on his own, the piano playing is exceptionally delicate showing the great range and sensitivty this man had. As the movement progresses of once again points where Curzon is lighter than I would’ve expected but on the next page Curzon is powerful and telling. 

Throughout this van Bienum sticks to his soloist. He’s a powerful force but never gets in the way. As the movement closes and we reach the cadenza Fantasia Curzon is again imperious.

These flashes of power and strength, delicacy and restraint, deploying a rich palette and long vision. It’s perhaps a little less introspective than we would hear it today. 

I think it questions our relationship with this symphony made into a concerto. My view is that scope of Curzon’s vision is symphonic. added to that ambition we have the all round excellence of the participants. In my mind, undoubtedly though this is a marker in the evolution of the peace and I don’t think I’ve heard a better account from that era.

Performance 8

Recording 10

Interpretation 10