Brahms Second Concerto with Serkin, Ormandy

1945 Life Magazine ad - click to enlarge

I just transferred this recording, and enjoyed the results so much that I am rush releasing it, as it were, for your enjoyment.

"It" in this case is the Brahms piano concerto no. 2 with the great Rudolf Serkin. The work was something of a specialty of the pianist: he recorded it at least four times - three times with the present accomplices, the Philadelphia Orchestra and Eugene Ormandy.

This particular edition is the first, recorded in the Academy of Music on March 15, 1945. It was followed by 1956 and 1960 efforts, and a 1966 go-around with George Szell and the Cleveland Orchestra.

Original LP cover

The 1945 recording first came out on 78s, followed by this LP, which I believe was among the initial 100 issued by Columbia in 1948, with the generic "tombstone" cover used for the first classical releases. Later the record was sold with one of the better Alex Steinweiss covers (below).

I own two pressings of the recording, with distinctly different sound. This transfer is from the first pressing, which, while not really dry sounding, is distinctly less resonant and glamorous sounding than a later version, which was "enhanced" with reverb. It's fascinating how much different Serkin sounds when he has been aided by the engineer. Reverb is very much of a universal phenomenon these days, which may be why one contemporary orchestral recording sounds pretty much like another. I would prefer to have Serkin and the Philadelphians served without condiments, and that's what we have here.

Serkin in 1943

Serkin is a favorite of mine, although he is very different from some of the other pianists who have appeared here. He was considered both a romantic and classicist. He was not known as a natural virtuoso but he is capable of remarkable feats of pianism. His sound could be both honeyed and very gritty. All that can be heard here. But what comes through most of all is his complete command of both the music and the instrument, and his total involvement.

The sound here is just to my taste, although there is some slight wobble here and there due to a less-than-ideally flat pressing. The orchestral backing is very fine. I want to be sure to mention the superb cello solo in the slow movement, which presumably is by then-principal Samuel Mayes.