Emil Gilels, New Philharmonia, Sir Adrian Boult - Ludwig van Beethoven: Piano Concertos Nos. 1 & 3 (2011)

Russian soloists seemed to form a strong bond with Adrian Boult. Rostropovich’s best studio Dvorák concerto performance was given with the veteran British conductor. And anyone who has seen David Oistrakh’s filmed performance of the Beethoven concerto with Boult will appreciate the solidity of the professional rapport between them. The rapport extended to pianist Emil Gilels, whose July 1967 performances of these two Beethoven concertos simply reinforces the virtues of their collaboration, and also adds to the known discography. Boult had made a famous wartime 78 set of the C minor with Solomon. Gilels recorded the cycle in Cleveland with that beacon of bonhomie, gimlet eyed George Szell. He also recorded the C minor with Cluytens, and taped the Fourth and Fifth with Leopold Ludwig.

Boult proves his sagacious self. There may be the merest hint of unease orchestrally in the C major, but things very quickly settle down to a lucid exposition. The playing is excellent, even droll in places. Gilels sweeps into the first movement cadenza – the more concise of the two is played. The slow movement is highly expressive, whilst the finale is vital and engaging, with ensemble at its tightest.

In the C minor Gilels can be trenchant, almost gruff in places, but he is also precise in articulation, with fine, even trills. He reserves poetry of a direct kind for the slow movement where the winds’ phraseology is admirable, and fine spirits are released in the finale, but are ever subject to the firmest of rhythmic control. The triumph of the playing is an index of Gilels own priorities, and strongly to be admired. My own taste is rather more for the kind of thing that the then Stephen Bishop Kovacevich and Colin Davis conjured up at a few years later in their commercial recording – but there’s no denying the results of the Gilels-Boult collaboration, which is hugely and effectively realised on its own terms.

There is some high end hiss here but it’s not disturbing. The tapes come from the BBC and have been licensed to ICA Classics.

Review by Jonathan Woolf, MusicWeb-International.com

This recording of the Piano Concertos #1 and #3 of Beethoven has its origin in a series of concerts given by the famed Russian pianist, Emil Gilels in the summer of 1967 at London's Royal Festival Hall. The series was devoted to all 5 Piano Concerti plus misc. orchestral works of the composer. Sir Adrian Boult led the New Philharmonia Orchestra. The performances are lithe and confident in conception as well as execution. Dynamic shadings are meticulously worked out. The two Largo movements in particular profit from this attention to detail. Certainly, more robust , heavily accented renditions of these works (including other versions by Gilels) are to be found. Nevertheless there is something very appealing and arresting about these thoughtful, patrician readings. It is fascinating to experience two major artists of the last century at the top of their game within a live, real time context. Sonics are well balanced and textures, transparent, a testament to ICA Classics' extreme care in refurbishing the analog tape source. Audience noise is minimal and unobtrusive. Liner notes are well written and informative. Recommended to fans of important historical documents of topnotch music making.

Review by Allen Cohen, Amazon.com