Composer: Johannes Brahms
Works: Piano Concerto No. 1, Four Ballades Op. 10
Performers: Arthur Rubinstein, piano (Concerto), Julius Katchen, piano (Ballades)
Recording: 1976 (Concerto), 1965 (Ballades)
Label: DECCA
The grandiosity of Brahms’ Piano Concerto No. 1, a work that embodies both the Romantic spirit and the structural rigor of the classical tradition, finds an intriguing interpreter in Arthur Rubinstein. Recorded in May 1976, this performance stands as Rubinstein’s final concerto recording at the remarkable age of eighty-nine. Coupled with Julius Katchen’s interpretations of the Ballades, recorded in 1965, this release offers a juxtaposition of two distinct artistic voices, each grappling with Brahms’ emotive complexity and technical demands.
Rubinstein’s rendition of the concerto, while marked by the limitations of age, reveals a profound interpretative depth. The opening tutti from the Israel Philharmonic Orchestra, conducted by Zubin Mehta, is dramatic, setting a powerful stage for the soloist. However, Rubinstein’s entry is notably slower, characterized by a slightly choppy rhythm that, while less vigorous than his earlier recordings—most notably the iconic 1954 session with Reiner—still possesses a reflective quality. The development section, particularly in the octave passages, suffers from Rubinstein’s declining sight, necessitating multiple retakes, which adds an inevitable fragility to the performance. Yet, this fragility can also be viewed as a poignant testament to the resilience of artistry in the face of physical decline.
The Adagio, often considered the heart of the concerto, showcases Rubinstein’s ability to convey deep emotion despite technical shortcomings. Although the balance tilts towards the soloist, creating an unnatural prominence at times, the rich lyricism he achieves compensates for this imbalance. Notably, at 10:00 in the finale, the lightness and playful spirit of his interpretation shine through, with his ‘cheeky’ embellishments offering delightful surprises amidst the occasional slips. The finale’s slower tempo, while perhaps lacking the urgency found in younger interpretations, reveals a contemplative approach that is uniquely his.
Shifting to Katchen’s performance of the Four Ballades, the recording presents a fascinating contrast. Katchen brings an introspective quality to these works, with moments of sparkling clarity and propulsion. However, the interpretation is not without its issues; the Fourth Ballade is executed with an unusual rapidity that detracts from its inherent lyrical nature. The opening of the Eduard Ballade fails to establish a cohesive tempo, leading to a disjointed feel that undermines the emotional impact. Despite these inconsistencies, Katchen’s technical prowess and musicality are evident, though they occasionally wade into the territory of mere virtuosity without the necessary emotional undercurrent.
The engineering quality of the recording, typical of DECCA’s high standards, allows the nuances of both pianists to emerge, although Rubinstein’s performance suffers slightly from a lack of clarity in the orchestral balance. This unevenness highlights the aging process of the pianist while simultaneously showcasing the enduring power of his musicality. Comparatively, Katchen’s recording benefits from a more dynamic interplay between piano and orchestra, yet lacks the depth of feeling that Rubinstein so distinctly evokes in the slow movement of the concerto.
This compilation serves as a poignant reminder of two masterful artists grappling with Brahms’ formidable music at different stages of their careers. Rubinstein’s last recorded testament, although marred by technical flaws, exudes a warmth and character that speak to his lifelong relationship with the repertoire. Katchen, while offering moments of brilliance, ultimately presents a more uneven interpretation that may leave listeners yearning for greater emotional connectivity. The historical significance of both performances illustrates the evolution of interpretation in Brahms’ works, suggesting that the essence of music transcends mere technical prowess, resting instead in the ability to communicate the profound human experience embedded within the notes.
