5CD-Flac-1.69 GB.-scans & Booklet
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En esta entrega los conciertos para piano S. 124, 125, 172:3, 215:1 de Franz Liszt, en la ejecución de Daniel Barenboim, el sonido de la Staatskapelle Berlin y la dirección de Pierre Boulez. Un registro de Deutsche Grammophon que acaba de salir y aun no llega a las tiendas.
As a young firebrand, Boulez found Stravinsky superficial, so what was Liszt, a bunko artist? they make an odd couple, without a doubt, all the more because the orchestral parts to the two Liszt concertos are generally tossed out with minimal rehearsal as so much rum-tum. Yet lingering in the back of my mind I've always wondered f someone could make something special out of the moody blue opening to Concerto no. 2. Whether it attracted Boulez in particular or not, this work is placed first, and he conducts it with splendid feeling and refinement. Aided by excellent sound form DG, we get to savor the score in detail. for his part,Barenboim strikes a good balance between the keyboard showmanship built into the piano part and a refined musician's desire to match Boulez's level of artistry. The result is a surprising triumph in which nothing is turned into brassy vulgarity. Only the unredeemable finale is allowed to kick its heels. If you prefer to see red meat thrown to the lions, this reading may be too sober, halting, and sensitive, yet Barenboim's technique is up ot the challenge, and he plays a good instrument that is well captured. Concerto no. 1 is about as subtle as Barnum and Bailey's but just as crowd-pleasing, so there's not much reason to refine it into something it isn't. Barenboim and Boulez may veer too far in that direction, but on the whole they are as effective as in the Second. Liszt put his heart into bombast, and the performance reflects it. Again, the huge, powerful piano sound that the engineers have captured is a major asset. The Scherzo is delightful in the interplay of keyboard filigree and the triangle. (It's a small detail, but the exquisite way in which the triangle's overtones are perfectly caught shows how good digital recordings can be.) The finale could be a touch more triumphant as martial, as the score directs, but no one will doubt Barenboim's powerful playing. As encores we get him alone in the third Consolation and first Valse oubliee, both nicely done, although memories of Horowitz in the waltz are not remotely challenged.
