Solomon plays Brahms: Piano Concerto No.1 & 25 Variations and Fugue on a Theme by Handel

Johannes Brahms
Piano Concerto No.1
25 Variations and Fugue on a Theme by Handel Op.24
Testament SBT1041
Solomon
Rafael Kubelík
Philharmonia Orchestra

Gramophone:

It is ironic that Solomon Cutner lived beyond a normal life-span until his mid-eighties, for he was only 54 years old, and at the height of his powers, when he suffered the stroke which ended his career. There could have been few real compensations in his predicament, save for the fact that his art lived on through recordings. Fortunately some of these were made in early stereo, and the original issues themselves achieved considerable longevity. There were also frequent reissues of older recordings to rekindle interest. Walter Legge, who produced practically all the above records, paid Solomon a back-handed compliment in describing him as the ''best of the British pianists'' but he, of course, overcame traditional prejudice against 'home-grown' performers and achieved world-wide fame.
Though he made a reputation in Tchaikovsky and Liszt, Solomon was not a flamboyant artist and his objective, scrupulously faithful and architectural style was particularly suited to Beethoven and Brahms. There are some similarities of approach, but also interesting differences in the two major items here. In the First Concerto's opening movement Kubelik and his soloist adopt a very measured basic tempo, yet the orchestral playing is still very powerful, and Solomon's impressive technique is merely the servant of an aristocratic, architectural and highly poetic response to Brahms's inspiration. Interpretatively this is playing of the highest order, and richly satisfying. Solomon's and Kubelik's expressive, inward account of the Adagio is also very moving, and their magisterial interpretation of the work as a whole is completed by a finale which moves at a moderate tempo, but in a very strongly stated, clearly argued fashion. Not even the best efforts of transfer engineer Paul Bailey could make the 1952 orchestral sound appear to be modern, but the balance between soloist and orchestra is ideal, and the piano tone is perfectly good.
In the Second Concerto's first movement it is interesting to find Solomon and Dobrowen adopting a slightly faster than usual basic tempo. Solomon's playing here is more muscular, more obviously powerfully driven than in the earlier work, but his intellectual control and aristocratic turn of phrase are still just as evident. There is plenty of tension and ardent, communicative playing in the second movement, and in the Andante Dobrowen's poetic shaping of the orchestral writing is an ideal backcloth for Solomon's finely-turned, beautifully expressive account of the solo part. A joyful, sparklingly clear performance of the final Allegretto rounds off another interpretation which is of the highest calibre. The sound characteristics of the 1947 recording are somewhat similar to those of the First Concerto.
In the Handel Variations on the first disc Solomon is not well-served by a somewhat confined recording quality, and this may exaggerate the impression of a well-judged, well-integrated, intimate account of the work, with impressive intellectual control in the final fugue, but one which to my mind would benefit from stronger characterization and sharper rhythms and attack. The solo items on the second disc are all beautifully played.'