Rudolf Serkin

This 10 CD set offers 11 live recitals given by 10 famous pianists in Switzerland from 1953 to 1993. Each pianist is credited by a single CD. Only Backhaus CD contains fragments from two different programs (1953 and 1960), all the other pianists are represented by a single program.

Known for his intense, insightful interpretations of the classical repertoire, Rudolf Serkin was one of the great American pianists of the mid-century, and seldom was he more in his element than when playing Mozart. This new six-CD release unites for the first time fourteen Mozart concerto recordings made at the height of his career, between 1951 and 1977. His is not a raised-little-finger type of Mozart; it is rugged, has contour, and is a welcome relief from the pretty-pretty conceptions heard only too often , wrote Gramophone of a 1955 recording with the Columbia Symphony Orchestra and Alexander Schneider. With the same orchestra, Serkin is ideally matched (AllMusic Guide) with conductor George Szell; elsewhere he partners Eugene Ormandy and the Philadelphia Orchestra, as well as Pablo Casals at the cellist-conductor s festival in Perpignan for No. 22 ( exultant and miraculous BBC Music Magazine). Recordings from the Marlboro Festival include the Concerto No. 10 for two pianos with his then-teenage son Peter Serkin.

It is no secret that there are quite a few excellent recordings of the Five Beethoven Piano Concertos available – especially Brendel (both sets with Chicago and Vienna), Kempff, Perahia, Schiff, the list goes on. However, what I find particularly stunning about Rudolf Serkin's readings of the Beethoven Concertos is the pure human element he somehow employs in his playing and at the same time his ability to transcend that same element.

The Incomparable Rudolf Serkin is a two-disc set in a digi-pak format released in 2003 to coincide with the celebration of the great Austrian pianist's 100th birthday. The second disc in the set consists of two previously released performances, the first being Brahms' E minor Cello Sonata recorded at Kennedy Center with Mstislav Rostropovich as soloist, and the other is Mozart's Piano Concerto No. 16 in D, K. 451, with Claudio Abbado and the Chamber Orchestra of Europe, made at the Grosser Saal Konzerthaus in Vienna. The first disc was wholly new at the time of release, featuring Serkin in the last three piano sonatas of Beethoven, also recorded in Vienna, this time at a live concert.

This is the first-ever collection of Rudolf Serkin's complete recordings for Columbia Masterworks on 75 discs: Concertos, sonatas, chamber music and vocal performances, all recorded between 1941 and 1985. An all-embracing survey of Rudolf Serkin's recorded achievements, spanning over 44 years. Some collaborations include Adolf Busch, Pablo Casals, Peter Serkin, Jaime Laredo, Frtiz Reiner, George Szell, Eugene Ormandy, and Arturo Toscanini.

Rudolf Serkin's classic 1957 recording of Beethoven's Diabelli Variations sounds more vibrant and powerfully projected than ever in this remastered edition. Not only do the fine mono sonics improve upon the CBS Portrait reissue, but now each variation has its own track, whereas the earlier CD incarnation provided only one access point for the entire work. Serkin's angular pianism is alive to every startling subito dynamic, every harmonic surprise, every rhythmic quirk, plus every inflection that helps intensify the music's inner rhythmic workings and transitions between variations.

Rudulf Serkin, in the company of Szell and the Cleveland Orchestra shine a wonderful light on Brahm's First Piano Concerto. Serkin brings the same radiance he delivers to Beethoven's "Emperor". Self-effacing, Serkin noted, "We are nothing next to the immense pieces we play… nothing, we are mere dwarfs". A challenging piece by any measure, Serkin's performance is well balanced with that of the orchestra, which play in harmony to produce elegant sound on this well-recorded Sony edition. The Handel Variations are a delightful change of pace as a makeweight.

Rudolf Serkin's 1964 recording of Beethoven's Piano Concerto in C minor is surely among the greatest recordings of the work ever made, and certainly his finest performance of the work. The energy and enthusiasm and even passion he brings to Concerto in C minor is overwhelming, and indeed, it overwhelms Bernstein and the New York Philharmonic, who accompany Serkin with the sort of commitment that only a conductor and orchestra give to soloists when they are deeply inspired. But while Serkin's 1962 recording of Beethoven's Piano Concerto in E flat major is also surely among the greatest recordings of the work ever made, it is not quite Serkin's finest recording of the work.

These two gentlemen really had a good thing going on when they recorded this album. Take an evening, put it on, turn down the lights, sit down and hear them play wonderfully, enjoying themselves as they play for us. It is a very good introduction ot the cello sonata of Brahms, specially if you do not know them previously.

Martha Argerich has made such a rousing specialty of the Schumann Cto. that it's hard to remember a time when another pianist attacked the work with as much passion and spontaneity but here is Rudolf Serkin from 1964 to remind us. Ormandy was at his best as an accompanist, yet he excels himself here with an orchestral part that is vivid and urgent, not what one expects from him. Serkin always favored very close miking of the piano essentially under the lid and we're lucky that this cheap digital remastering isn't hard or glassy; in fact, it has considerable visceral impact while still sounding fairly natural a bit of shallowness is all that I can complain about.