Speakers Corner/DECCA SXL 6023 BRAHMS Piano Concerto No.1 SZELL Clifford Curzon

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BRAHMS Piano Concerto No.1
George Szell Conducts The London Symphony Orchestra
Clifford Curzon, Piano
NM/NM Used Audiophile Vinyl Record

Record Label: Speakers Corner/London SXL 6023

180 Gram Audiophile reissue by German label, Speakers Corner. Pure Analogue Audiophile Mastering and a High Quality, virgin vinyl 180 Gram Pressing. Faithful reissue... complete  with heavy board glossy sleeves and liner notes.

"This 1962 recording has long been considered one of the very best performances and recordings of the difficult Brahms First Piano Concerto. It is one of the prime examples of the achievements of the Decca engineers of the time in getting lifelike sound, during this Golden Age of analog recording...The rich tone of Curzon's piano is a joy to hear..." ~ John Sunier

Speakers Corner reissues are all cut from original analogue master tapes. Only 500 copies were pressed from each matrix to guarantee the highest sound quality. Because of the scarcity, these Speakers Corner reissues have become collector's items in their own right.

Condition: Record sleeve shows no wear on front or back. Corners are sharp. Spine is straight and shows no signs of chipping or wear. Reprint of original FFSS Decca inner sleeve is included. Inner sleeve has two stickers on the top left and top right. There are no spindle marks on the label. Vinyl is clean, shiny and plays like new.

Side One
1. Maestoso

Side Two
2. Adagio
3. Rondo - Allegro Non Troppo

Review: This 1962 recording of Brahms's massive First Concerto was an instant classic when originally released. Pianist Clifford Curzon, Conductor George Szell and the London Symphony Orchestra unite for a Truly Stunning Performance! Clifford Curzon gets to the heart of the music, capturing the high drama of the symphonic opening movement, and his rapt concentration makes a profound effect in the Adagio, famous for his controversially slow tempo. Conductor George Szell is his equal here, conducting with passion and intensity. The way he screws up the tension in the orchestra's opening statement and then, through judicious rubato and a warming of the string tone, makes the second subject come alive is a mini-lesson in great conducting.