Lili Kraus and Pierre Monteux in Mozart

A French RCA release of  Lili Kraus and Pierre Monteux, from Boston, in Mozart's Piano Concertos numbers 12 and 18. Recordings were made live in 1953 from Symphony Hall.

Lili Kraus was best known as a specialist in late classical and early romantic piano music. Especially noted for her Mozart, she recorded all of the piano concertos and piano sonatas, in some cases two or three times. I have the bulk of her set of concertos recorded with Stephen Simon and though her playing is pristine, the accompaniment by Simon and a suspect pick up orchestra is utilitarian at best. That said it was most welcome that I came across this issue where Kraus receives the finest support possible from the BSO and the beloved Maitre. Monteux always had great taste and sensitivity when working with soloists and Kraus is supported in the best possible way by a great, great musician.

I do find it interesting to compare Kraus with one of my favorite pianists, Clara Haskil. The former's approach I find more straightforward, almost academic while the latter, blessed with technique second to none adds an almost spiritual aproach to her playing. This is not to say that Kraus is inferior, just different, more of an intepreter of design rather than of the composer's soul or angst I guess. Each approach is equally valid and of great historical importance, given the personal integrity of both women.

Enjoy Mozart on  a Monday.

DOWNLOAD

Pierre Monteux, Beethoven and the San Francisco Symphony

A couple of years ago, I had the pleasure of reading John Canarina's illuminating biography of Pierre Monteux. Titled "Maitre," French for maestro, the book lovingly reminisced on the great musician's life and the impact he had on countless musicians and the public at large. My takeaways from the book were: 1. Monteux was a diligent worker and thorough man with impeccable taste and manners and,  2. Monteux absolutely hated, fumed at really, the notion that he was a specialist in French music. Given that Monteux was so darn authoritative on "French" music from Gluck to Honegger, it is not at all difficult to understand why the public, and orchestral management pegged him into this hole.

Well, here is ample, rather profound evidence, that Monteux was indeed more of a generalist,  a man with a catholic taste and understanding that bridged national borders. This Beethoven 8th from San Francisco circa 1950 is superbly paced and wonderfully effervescent. Phrasing is the way it should be and detail, especially from the woodwinds is immaculate. What we have here is natural, unfussy and right. This Beethoven is a document that is textbook on how the great composer should be approached - with awe, careful preparation and respect. This is a great listen in spite of sonic limitations, make no mistake!

DOWNLOAD