Early London Records: Chopin, Beethoven

Lucid but passionate, polished but tempestuous, thoughtful but deeply expressive, this set of early recordings by Austrian pianist Friedrich Gulda show all his later virtues and none of his later flaws. While the older Gulda could be accused of a certain reserve in his interpretations, as his September 1954 recordings of Chopin's allades show, the younger Gulda was clean but way more ardent. Listen to the coda of the G minor Ballade: is it not nearly too reckless in its emotionally virtuosity? While the older Gulda could be charged with standing back from the content music, as his February 1953 recordings of Chopin's preludes demonstrate, the younger Gulda was clear but far more subjective. Listen to the central section of the D flat major Prelude: is it not almost too intense in its emotional expression? While the older Gulda could be indicted for a kind of Olympian detachment from emotional core of the music, as his May 1952 recording of Beethoven's C major Concerto with Karl Böhm conducting the Vienna Philharmonic proves, the younger Gulda delighted in the digging deep into the Dionysic roots of music. Listen: does Gulda not smile in the opening Allegro con brio, not sing in the central Largo, and not dance shoeless and unbuttoned in the closing Rondo? Anyone who merely likes the older Gulda may love the younger Gulda and anyone who loves great piano playing would love either. Urania's sound is old but clean. ~ James Leonard, All Music Guide