Many thanks to our friend Jean-Luc for this beautiful reissue
The Brahms D minor Concerto is a difficult work to pull off successfully: the piano part is ungrateful, and often drowned out by an overorchestrated accompaniment. Also, many pianists–most notably Glenn Gould–tend to drag the tempos beyond all reason. Rubinstein, who was ten years old when Brahms died, would never have considered such a nonsensical approach. The Concerto was written early in Brahms career, and was the work of a passionate young man. In essence, Brahms without the beard. This is the first stereo recording, taped in 1954, to be made of this Concerto. (The stereo version, however, was not released until 1977).
# Composer: Johannes Brahms
# Performer: Artur Rubinstein
# Orchestra: Chicago Symphony Orchestra
# Conductor: Fritz Reiner
# Vinyl (1954/200???)
# Number of Discs: 1
# Format: Flac
# Label: RCA Living Stereo
# DR-Analysis: DR: 13
# Size: 1.81 GB
# Scan: yes
# Server: FileFactory
This record reproduces the first stereo recording made of this concerto, in April of 1954. Despite the early date, the recording is first rate, characterized by an unusually close perspective on both piano and orchestra. Many of the details of Brahms’ scoring come through more clearly than in many later recordings, especially the woodwinds (which are unusually present, and spread across the stereo image) and the low strings, which are reproduced with superb fidelity. A slight mis-tuning of a couple of upper piano notes is the only notable flaw. (It is also interesting that Reiner had the Chicago Symphony strings in the older european seating plan with 1st. violins on the left, 2nd violins on the right, and the basses on the left, which the recording reproduces accurately. The following season, he had the strings adopt the “American” seating plan used by most orchestras today, with both violin sections to the left and basses to the right.)
Rubinstein’s way with Brahms is fascinating to listen to. He was known for his ability to clarify the musical phrasing of composers such as Chopin, and he does the same thing with Brahms, without ever neglecting Brahms’ counterpoint. Rubinstein has a natural feel for rubato that he constantly uses to shape musical phrases and enable a sense of forward motion. He is ably abetted in this by Fritz Reiner, who also understands the uses of rubato, without ever losing the sense of the music’s architecture. In that sense, this recording is an object lesson in romantic style.
|Piano Concerto No. 1 In D Minor, Op. 15||46:20|
|B2||Rondo: Allegro Non Troppo||11:22|
Analyzed folder: /192k Brahms – Piano Concerto No. 1 – Rubinstein, Reiner
DR Peak RMS Filename
DR13 -1.78 dB -19.55 dB A Brahms – Piano Concerto No. 1 In D Minor, Op. 15, Maestoso.wav
DR14 -2.79 dB -21.98 dB B1 Brahms – Piano Concerto No. 1 In D Minor, Op. 15, Adagio.wav
DR13 -1.86 dB -18.57 dB B2 Brahms – Piano Concerto No. 1 In D Minor, Op. 15, Rondo- Allegro Non Troppo.wav
Number of files: 3
Official DR value: DR13
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
- Phono amp: Pro-Ject Phono Box RS
- ADC/DAC: Steinberg UR 22
- Pre Amp: Große Vorstufe, Erste Frankfurter Röhrenmanufaktur (Tube)
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music.
Enjoy the music, not the ticks & pops.
I tend more and more, in the last time, to de-click with an automatic setting between 0.7 and 1.2 so you can say, my rips are like half rough rips.
- Software: iZotope RX 4 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.9
- Very light de-clicking with iZotope, significant clicks manually removing, no de-noising
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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I reinvest all donations in maintenance of my rig, for purchasing cleaning solutions and, most important of all, purchasing of new vinyls.
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