Brahms Piano Concerto No. 2 in B Flat Op. 83 / Tragic Overture Op. 81
This recording dates back to Gilels' visit to the US in 1958. It was eclipsed in RCA's catalog by Sviatoslav Richter's recording of the piece in 1960 with the same orchestra under Eric Leinsdorf (Reiner was supposed to conduct but was ill). Richter's recording got huge publicity and critical praise. Gilels had a much lower public profile than Richter: he was not as dramatic a figure, not as controversial, nor was he touted as being a genius. Gilels' recording was rereleased on RCA's low-priced Victrola label in 1964 and kicked around in RCA's catalog for some time with little notice. It's a shame; it is a fine performance.Gilels and Reiner make a fine team. More a continuous conversation between piano and orchestra than the traditional showcase for the soloist, this piece requires a conductor who is more than an accompanist and a soloist who is willing to collaborate on a shared vision. Gilels and Reiner work hand-in-glove, taking a muscular, dynamic approach to the piece which emphasizes its classical form. Tempi are appropriate if a bit on the brisk side. The taut sound Reiner created with the Chicago Symphony is the perfect complement to Gilels' clear and transparent pianism. Gilels keeps the lines crystal-clear, the structures evident, the emotions present but always held in balance, his sound big and still transparent. The third movement is a gem, a marvel of dynamic shading and light, lyrical touch. The clarity of sound and transparency of textures gives the performance a chamber-music feel, perfectly appropriate in a piece many commentators have likened more to chamber music than a traditional concerto.