Interludes and Examinations: Brahms - Piano Concerto No 1 : Zimerman/Rattle/Berlin Philharmonic

Brahms: Piano Concerto No. 1 in D minor (Op. 15)
Krystian Zimerman, Piano
Berlin Philharmonic, Simon Rattle

Deutsche Grammophon 4776021GH (Mid Price on Release/will eventually revert to Full Price)

On nearly all technical grounds this latest account of Brahms' First Piano Concerto is pretty much state of the art. Zimerman’s characteristically immaculate, sensitive and refined playing is brilliantly weighted, whilst the Berlin Philharmonic under Rattle’s direction provide a luxurious and brightly lit orchestral backdrop. However, this said the recording is a good example of when great engineering, great playing, and great artists don’t necessarily produce a 'great' final product.

The high point of the performance for all concerned is easy to identify. The striking Adagio is a powerfully sustained 16 minutes of poignant almost Zen like calm. Interpretatively, however, the outer movements are less convincing failing to provide the fullest contrasts with the adagio and hold their own with the finest recordings of the piece. In the first movement Rattle’s well moulded approach lacks tension conspicuously failing to match the dark tension and repose of classic recordings by Gilels/Jochum, & Szell/Curzon, or even the more idiosyncratic Arrau/Haitink. Whilst in the finale Zimerman’s approach comes across as curiously lightweight, despite his interesting Schumann-esque inferences and sparkling finger work.

I'm not completely sure Zimerman's a natural Brahmsian either despite the reliable flair, distinction and insights of his playing. His crystalline technique coupled with a somewhat self conscious, calculated and at times underpowered approach really doesn’t seem to fully inhabit and reflect the crucially darker and more muscular aspects of the Brahmsian sound world in the manner pianists such as Arrau, Serkin, Gilels and Pollini have done in the past. I'd also be interested to hear Rattle in more Brahms as here his general interpretation, although impressively moulded and meticulous, is somewhat lacking in character. Overall, a slightly disappointing release but nonetheless well worth listening to for the beautiful adagio and some interesting touches and insights throughout the piece, some of which are more succesful than others.