With the widespread popularity of stereophonic sound by 1957, it is perplexing that this 1966 recording of Brahms' second piano concerto would be made in monaural sound. Still more puzzling is why more was not done during remastering to brighten the sound. The result is an overall unsatisfactory sound quality wherein only the instrument that happens to be playing the loudest may be heard. The piano, in particular the left hand, is very muddy. While interesting from an historical perspective, John Ogdon's performance is ...
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With the widespread popularity of stereophonic sound by 1957, it is perplexing that this 1966 recording of Brahms' second piano concerto would be made in monaural sound. Still more puzzling is why more was not done during remastering to brighten the sound. The result is an overall unsatisfactory sound quality wherein only the instrument that happens to be playing the loudest may be heard. The piano, in particular the left hand, is very muddy. While interesting from an historical perspective, John Ogdon's performance is inconsistent from one moment to the next. The Brahms runs the gamut: the extremely slow first movement is filled with plodding, pounded-out, interminable sequences while the fourth movement has occasional moments of graceful playfulness. This same inconsistency is found in the Beethoven. Many of the forte chordal passages in the first movement are filled with extra notes and the left hand is often an indistinguishable blur of sound. In contrast, the much gentler Arietta presents much...
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Seller's Description:
Fair. Ex-Library rental. Disc(s) are professionally cleaned and may contain only light scratches that do not effect functionality. Includes disc(s), case, and artwork. May be missing booklet. Disc(s), case, and artwork may contain library/security stickers and ink writing. ARTWORK IS UNORIGINAL AND PRINTED BY LIBRARY. Case and artwork may show some wear. Case may not be an original jewel case. All disc(s) are authentic.
