Others (Schumann Piano Concerto in A Minor, Op. 54):
1934 Cortot LPO/ L Ronald; re-issued by Naxos
1960 Backhaus VPO/ Guenter Wand- Decca
1960 Istomin. Columbia SO/ B Walter- Sony
1963 Arrau, Boston SO/ Davis
1964 Serkin, Philadelphia Orch. Ormandy- Sony
1970 Kovacevich BBC SO, Davis Decca
1973 Lupu, LSO, Previn -Decca
1976 Moravec, Czech PO, V. Neumann- Suprahon
1981 Zimmerman, BPO, HvK- DG
1987 Perahia, Bavarian RSO, Davis- Sony
2002 Argerich, Svizzera Italiana. A. R. Barakovsky - EMI/Warner
2022 Rana, Chamber Orch. Europe, Nézet-Séguin - Warner
I sure have a couple of dozen readings of this piece but the ones I truly love and get lost in the score is Richter’s '48 version. Sound is terrible of course but the most passionate finale so far in spite the poorest sound. He builds the tension and excitement on finale with left hand slightly behind the right ( the same thing Errol Garner does). This is a more lyrical effort than his later set with Wislocki.
Okay allow me to start a new one the glorious Eroica, 000s to choose from but this has long been my favourite, if you think you recognise dynamics in a performance, try this.
If you like Honeck’s approach then this one is a treat as the sonics are really good. The SACD is out of print but the DSD stereo/multi channel files are available for purchase at NativeDSD.
The PCM files (192-24) are available at a much lower price especially at prestomusic (=50% off).
The booklet which contains Honeck’s notes can be read or downloaded from the RR website.
I’ve been loading up on Reference Recording downloads at Presto (or perhaps one was from Qobuz). I recently added his Bruckner 4th to his 7th and 9th. I could only find the 4th in redbook, but my sample sounded very good.
I also picked up the Runnicles Mahler 5th and the Ohlsson/Runnicles Beethoven cycle, which is dirt cheap. These releases are the best sounding orchestral recordings in my collection.
As for PCM vs DSD - the liner notes for the Runnicles recordings contain detailed information about the recording method, including the fact that they were recorded in 192/24 PCM. This differs from the Honeck recordings I have.
Wiki : 'The work was dedicated to Frédéric Chopin but when a copy was sent to the Polish composer, he commented favorably only on the design of the title page … In 1839, soon after publishing it, Schumann called it in a letter “my favorite work ..”!
Spirited and good expression and nuances. Piano resonance and note decays are beautifully preserved on this recording albeit the record noise can be lower.
Well delineated lower register keys and good amount of authority with lovely note decays. Not as intense as Ms. Argerich but there is a strong confidence that is felt behind notes. His note delivery is unusually clear and decisive. The slow movements are well elaborated without any ambiguity. Sweet and comfortable listen like meeting an old friend. Kempff’s style always sounds as if improvised giving a tune much friendlier less structured feel but he strikes a hammer when necessary. No pretense and just playing tunes. In his rendition, deliberately unimpressive finale does not sound so out of place from the rest and to me rather makes sense. This is not the reading that impresses from the start with fire drill speed but subtle human emotions woven in and skillfully rendered and certainly the most playful and nonchalant set.
I wish DG will reissue this record on their Original Series vinyl.
Would argue that the choice of Martha for this piece is good. As old references I would also like to call out Horowitz, Lupu and Perahia. Exciting or interesting new recordings come from Wurtz and Eum Son…., where you could argue that the Wurtz one might be regarded to fast and to exciting but I nevertheless can enjoy it. A new one which is also a fine one in my opinion is Stephen Hough’s version.
Would have loved to hear what Grigory Sokolov would have made of it, but there doesn’t seem to be a version he put to record….
Heard the sonata two separate times as a teenager on Radio 3 and both times it stopped me in my tracks. Didn’t make a note of whose version(s) they were playing.
When I eventually came to get a copy on CD, I couldn’t find any of the Penguin Guide’s then-recommended recordings, so got this because a) I like Uchida, b) I like my piano recordings to be on modern instruments with modern recording technology. I’ve never felt the urge to try anyone else’s version, but do feel free to suggest!
After Bach, I return most often to the music of Sibelius. I prefer Finish interpretations on the BIS label, others may have different preferences. For example, this is my favourite version of the violin concerto:
