This CD is reissued by ArkivMusic.
Notes and Editorial Reviews
The only other version of the 1970s to rival [Gilels] is Maurizio Pollini's with the Vienna Philharmonic and Karl Böhm. Where Gilels's first movement was 24 minutes, Pollini's is less than 21 and he shows that it doesn't have to be slow — also, that it can wear another truthful aspect without being hard driven. The eruptions from him and the orchestra are electrifying and they generate an authentic force. But Pollini does take a while to get going. He seems oddly neutral in his first solo, and he trudges through the paragraph introducing the glorious melody of the second subject group, knapsack on his back; I can see why Gramophone colleagues haven't liked the performance more. But as soon as the orchestra takes over this tune
something clicks, and Pollini ignites. As we know, when that happens there are few players to touch him. The burnished tone and effortless weight of sound when needed (in the difficult bits as well) are splendid, and the high quality is sustained to the end of the piece. Where the rondo theme returns for the second time in the finale, after the fugato, the playing beggars belief; and the Adagio too is very fine. At the return of the piano's statement of the threnody, joined by horns, cellos and doublebasses, soloist and orchestra build an edifice that puts you in mind of a Bach organ movement.
-- Gramophone [11/1997]
Works on This Recording
Concerto for Piano no 1 in D minor, Op. 15 by Johannes Brahms
Maurizio Pollini (Piano)
Vienna Philharmonic Orchestra
Written: 1854-1858; Germany
Date of Recording: 1979
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