EC PC: Lateiner v. Oppens

Over the past week, two of my most knowledgeable correspondents have written stating their preference for the premiere recording of Elliott Carter's Piano Concerto — Jacob Lateiner, soloist, with the Boston Symphony Orchestra conducted by Erich Leinsdorf — over all subsequent versions. They were so articulate, and so sure of themselves, that I began to doubt my own judgment in favor of Ursula Oppens’ recording with Michael Gielen and the Cincinnati Symphony. So this afternoon, while nursing my usual headache after the Saturday end to my work week, I went back and listened to both recordings, back to back.

I can see the attraction for Lateiner. My friends were right about the sensitivity and comparative luxuriance of his playing, as reflected in the longer track times. (The difference in the total timing between the two versions is three and a half minutes.) The approach yields many memorable and beautiful moments.

If forced to choose, however (and let’s be thankful we never are), I still have to go with Oppens/Gielen as my preferred version. Considered as a whole, the performance is stunning. “Gripping” was the word I used in my Amazon review, and I meant that almost literally: It grabs me from the first and doesn’t let go. I can’t sit still while listening to it. Oppens’ headlong rush has great cumulative power, as if she is becoming more desperate to escape the orchestra as the piece evolves. The Cincinnati Symphony, as an ensemble, gives the concerto a greater unity and direction than the BSO does, with a surer grasp of phrasing and dynamics and a great burst of fury at the end. It just sounds, well, better rehearsed.

I knew there was a reason I found the recording so compelling the first time I heard it. Now I remember.

Where my e-pals and I agree is that the concerto is one of the great works of the past century.

There are three other commercial recordings of the work, including a second with Oppens and Gielen, this time with the SWF Symphony. I’ll be getting back to them soon.

Carter News

John G. writes:

I thought you might like to know that the first (LP) recording of the Carter Piano Concerto (Lateiner / Leinsdorf / BSO) was released last May by Sony, as part of a five disk set titled Prophets of the New. The set is already unavailable, but each of the disks can now be had, individually, from ArchivMusic. And the Carter CD is well worth having. It features the Prausnitz recordings (originally Columbia; 1968?) of the Variations for Orchestra and the Double Concerto, together with the inaugural Lateiner performance of the Piano Concerto (originally RCA). All three of these performances are worthwhile, but for my money it is the Piano Concerto that steals the show. As I remembered, this account is slower than all of the recorded competition, and it pays off. The Boston winds and solo strings are stunningly eloquent; the byplay among them and the piano is much more telling here than in any other recording. And Lateiner! He makes every note expressive, and the whole comes vividly, tremblingly to life (for me) as in no other performance to date, including the Rosen one. His account of the "poetic musing" of the opening phrases is just right, and sets the tone for what follows.

Have a listen. I'd be curious to know whether or not you agree with me.

If only some gifted pianist with a sufficiently high profile would champion this score, surely one of the greatest of the last century. Like so many of the Carter's orchestral pieces (even now), it is not performed remotely as often as it should be. Oh well.

I was not aware of this release, but I've had the original LPs for more than 30 years, and I ordered my copy of the CD immediately. I must say I've never shared John's admiration of the Lateiner/Leinsdorf/BSO recording of the Piano Concerto — I never really turned on to the piece until I heard Ursula Oppens' recording with Michael Gielen and the Cincinnati Symphony — but I promise to give it my full attention again once the CD arrives. The Columbia LP of the Variations and Double Concerto, with Prausnitz conducting, was the first Carter recording I ever owned, and it is still a favorite. There are no better recordings of either piece (and I love the photo of the composer on the cover). I urge any of you who have not heard them to grab the CD while you can.

In other news, I have just learned that Leon Botstein will conduct the American Symphony Orchestra in an all-Carter program at Carnegie Hall on Sunday, November 17. I am already counting the days. The program will include the early Pocahontas and the great Concerto for Orchestra. There is some question out here in blogsville over whether Botstein is up to the task. He's an ambitious, knowledgeable follow, but not an especially inspired interpreter. Still, it's the Concerto for Orchestra, for heaven's sake. John G. writes that he heard Botstein conduct the piece about ten years ago, and, in his words, it wasn't half bad.

That's recommendation enough.