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JOHANNES BRAHMS
Violin Concerto in D major Op. 77
1 I. Allegro non troppo 20:30
2 II. Adagio 9:18
3 III. Allegro giocoso 7:58
Ossy Renardy (violin)
Amsterdam Concertgebouw Orchestra
Recorded 13 & 14 September 1948
PETER ILYICH TCHAIKOVSKY
Piano Concerto No. 1 in B flat major Op. 23
4 I. Andante non troppo e molto maestoso 16:22
5 II. Andantino simplice. Prestisimo 6:32
6 III. Allegro con fuoco 6:32
Kostia Konstantinoff (piano)
Paris Conservatoire Orchestra
Recorded April 1941
Total Time: 67:14
Ossy Renardy
The meteoric career of Ossy Renardy and its tragic denouement could stand as a paradigm of gilded youth, silenced. Born Oskar Reiss in Vienna in 1920 a peripatetic, essentially untutored, boyhood career saw him starring in variety shows alongside showmen and strongmen until, like the Czech virtuoso Příhoda, he was discovered in Italy and a career was launched. He made a New York debut at the age of eighteen and in anticipation of the centenary of Paganini’s death he played the 24 Caprices at Carnegie Hall. The impact must have been substantial because the following year he was asked to record them, the first integral set ever committed to disc, albeit in David’s anachronistic piano accompanied version. From then his career was American based and after war service he resumed touring in 1947. He died in a car crash in 1953 having shortly before re-recorded the Caprices ... Read more ...
Kostia Konstantinoff
Mais c’est le soliste du Concerto n°1 de Tchaïkovsky qui intrigue le plus. En effet, Kostia Konstantinoff reste un pianiste-mystère dont on sait peu de chose, hormis l’existence de cet enregistrement datant d’avril 1941 – mars 1942 : le 6 avril 1941, précisément, Konstantinoff donna en première audition au Palais de Chaillot, sous la direction de Münch, le Concerto pour piano de Mitja Nikisch (1899-1936), son ami d’enfance, fils du célèbre chef d’orchestre, et plus connu comme chef d’un orchestre de danse berlinois ; puis, le 1er mars 1942, c’est le Concerto en la de Liszt qu’il interpréta sous la direction de Gustave Cloëz. Quoi qu’il en soit, Kostia Konstantinoff donne du Concerto n°1 de Tchaïkovsky une vision rhapsodique, puissante et romantique qui devait bien correspondre au tempérament de Charles Münch. ... Read more ...
