More Beethoven Concertos from Solomon

I recently posted the Beethoven first and third piano concertos in the 1956 stereo recordings from the great instrumentalist Solomon. Today we have his discs of the other three concertos, which date from 1952-55.

These all possess the remarkable control and gorgeous tone that Solomon always displayed. Like the later concertos, many still consider them reference recordings.

In addition to the Beethoven, this set includes the pianist's traversal of Mozart's Piano Concerto No. 15.

Beethoven Concerto No. 4

Sessions in early November 1952 produced both the Concerto No. 4 and No. 2, the latter of which is discussed below.

As with the recordings in the previous post, the orchestra was the Philharmonia, but the recording location and conductor were different. EMI's Walter Legge had wanted to match Solomon with conductor Herbert von Karajan, but the pianist refused to work with Karajan, per Solomon's biographer Bryan Crimp. Otto Klemperer was not available, so the Belgian-born French conductor André Cluytens (1905-67) was engaged. Unfortunately this arrangement was not ideal, not so much because of soloist-conductor incompatibility, but because Cluytens did not get along with the orchestra, Crimp tells us.

André Cluytens

However, there is little evidence of this in the final product. As with Solomon's later concerto recordings, this is notable more for refinement than temperament. The Gramophone reported, "Solomon and the Philharmonia play exquisitely... A beautifully clear, limpid style on the part of the soloist is matched by a perfect orchestral partnership..." However, the Saturday Review disagreed, complaining that the first movement was "unduly slow and lacking in animation," a point echoed in other reviews.

There were complaints, too, about the sound, particularly the piano tone. The notes to the RCA Victor pressing report that EMI used two microphones for the orchestra and an additional spot for the piano. This all took place in the Kingsway Hall, famed for its acoustics, and it's true that there is a bit of empty-hall sound to the proceedings, particularly on the piano. But in general, things are well balanced and pleasing.

Beethoven Concerto No. 2; Mozart Concerto No. 15

Beethoven's Piano Concerto No. 2 was actually his first essay in the form, although published second. It is the most Mozartian of the five; accordingly, EMI coupled it with the older master's Concerto No. 15 for this release.

The Beethoven reading has the familiar Solomon hallmarks - clarity, elegance and insight. The reviews I have included in the download generally approve of the recorded sound, and most praise the Philharmonia's orchestral backing, led again by Cluytens.

Otto Ackermann

Mozart's Concerto No. 15 had not been recorded many times in the 1950s, although that is not true today. It is a rewarding work that Solomon handles splendidly. This recording comes from September 1953, with the Kingsway Hall as the location. The Philharmonia again is the orchestra, although this time the conductor is the Romanian Otto Ackermann (1909-60), who is remembered primarily for his operetta recordings.

Beethoven Concerto No. 5

The final recording in today's group is also Beethoven's final essay in the form - the Concerto No. 5, dubbed the "Emperor," although not by the composer. While the work has nothing to do with empire, it is indeed a majestic work, done full justice by the soloist.

Harold Schonberg in The New York Times contrasted Solomon in the work with a contemporary LP from Emil Gilels: "If you want a muscular, exciting reading... Gilels is your man. If your taste in "Emperors" runs to the elegant, intimate style, Solomon will fill the bill. Both of these are excellent performances of their kind."

Herbert Menges

For this recording, HMV again paired Solomon with the Philharmonia, this time not in the Kingsway Hall but in Abbey Road Studio No. 1, with sessions in May 1955. For this date, the label engaged Herbert Menges, a longtime friend of the pianist and perhaps his favorite accompanist.

Unlike the recordings in the previous Solomon post devoted to Beethoven, all these were recorded in mono. The Concerto No. 5 may be the best of them, with the orchestral colors more vivid and the piano tone well caught. The slow movement is exceptionally fine, both as a recording and performance. [Note: these are newly (July 2023) available in ambient stereo versions with much more vivid sound.]

Just a reminder that the earlier post of Beethoven concertos from Solomon also includes the Grieg and Schumann concertos, and there is another with the Bliss concerto and Liszt's Hungarian Fantasia.