How will Vivo earn in IPL


For collectors of historical recordings, the abbreviation IPL 505 always kept their hands wet. Behind it was the recording of the legendary concert of February 12, 1939, which had not been available for many years and was published for the first time on CD, in which Walter Gieseking conducted the third Rachmaninoff piano concerto for the first time without cuts and with the long cadenza under John Barbirolli performed. The composer who sat in the audience would hardly have expected such a miracle. From now on, Gieseking would be the leading interpreter of his concerts, he said with emotion.
Anyone who finally hears this document not as a scratched copy of a copy, but rather restored it to an acceptable level, understands Rachmaninoff's praise. Just the thoughtful singing of the endless cantilena of the first theme, this luminous, transparent Gieseking tone had to bewitch and abduct the listener. But what at first looks like a blissfully sunny, classical interpretation side path obeys a captivating and at the same time economic dramaturgy.
We usually know the first movement as the emotionally unstable swelling and waning of the waves of excitement. Gieseking and Barbirolli, however, begin with a broad, lyrical singing, from which the tempo in the first subject area increases in a completely targeted manner via the stages "piu mosso" and "piu vivo" to the Allegro, to culminate in the Veloce cadenza. In the perfectly regular pulse of these stages, Gieseking shapes the polyphony of his part in seemingly weightless clarity, without lessening the underlying tension that leads to the implementation. He risks everything in the cadenza, and it has probably never been played more aggressively or with more powerful sound.
In this way a great epic structure emerges, a huge arc of intensification and ebb, of compression and wistful evaporation. Between pastoral peace and exciting, massive masses, Gieseking and Barbirolli explore the majestic expressive dimensions of the composition, and no later should get as far. This is one of the most impressive concert recordings of all time.

Matthias Kornemann, 02/07/2002

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