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Great Pianists of the 20th Century - John Ogdon, Vol.1
 
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Great Pianists of the 20th Century - John Ogdon, Vol.1

~ Sergey Rachmaninov (Composer), Alexander Scriabin (Composer), Valentin Alkan (Composer), Ferruccio Busoni (Composer), Daniel Revenaugh (Conductor), et al.
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Product details

  • Performer: John Ogdon
  • Orchestra: Alldis Choir, Royal Philharmonic Orchestra
  • Conductor: Daniel Revenaugh
  • Composer: Sergey Rachmaninov, Alexander Scriabin, Valentin Alkan, Ferruccio Busoni
  • Audio CD (1 Feb 1999)
  • SPARS Code: A-D
  • Number of Discs: 2
  • Label: Great Pianists of the 20th Century
  • ASIN: B00000I0LJ
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 218,504 in Music (See Bestsellers in Music)

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Disc: 1
1. Piano Sonata No. 2 In B Flat Minor, Op. 36: 1. Allegro agitato
2. Piano Sonata No. 2 In B Flat Minor, Op. 36: 2. Non allegro - Lento
3. Piano Sonata No. 2 In B Flat Minor, Op. 36: 3. L'istesso tempo - Allegro molto
4. Piano Sonata No. 4 In F Sharp, Op. 30: 1. Andante
5. 2. Prestissimo volando
6. Concerto pour piano seul (12 Etudes dans les tons mineurs Op. 39): 8. Allegro assai
7. Concerto pour piano seul (12 Etudes dans les tons mineurs Op. 39): 9. Adagio
8. Concerto pour piano seul (12 Etudes dans les tons mineurs Op. 39): 10. Allegretto alla barbaresca
Disc: 2
1. Variations And Fugue On Prelude In C Minor
2. Piano Concerto, Op. 39: 1.Prologo e introito
3. Piano Concerto, Op. 39: 2.Pezzo giocoso
4. Piano Concerto, Op. 39: 3.Pezzo serioso
5. Piano Concerto, Op. 39: 4.All'italiana
6. Piano Concerto, Op. 39: 5.Cantico
On this CD:
  1. Sonata for Piano No. 2 in B flat minor
    Composed by Sergey Rachmaninov
    with John Ogdon

  2. Piano Sonata No. 4 in F sharp
    Composed by Alexander Scriabin
    with John Ogdon

  3. (12) Études dans les tons mineurs
    Composed by Valentin Alkan
    with John Ogdon

  4. Variations and Fugue on Chopin's C minor Prelude
    Composed by Ferruccio Busoni
    with John Ogdon

  5. Concerto for Piano and Orchestra
    Composed by Ferruccio Busoni
    Performed by Alldis Choir
    with John Ogdon
    Conducted by Daniel Revenaugh

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4.5 out of 5 stars (2 customer reviews)
 
 
 
 
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15 of 16 people found the following review helpful:
5.0 out of 5 stars BURN-OUT, 24 April 2004
By DAVID BRYSON (Glossop Derbyshire England) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)      
The tragic story of this prodigiously gifted and very unworldly musicianis moderately well known. He simply could not say no. He would carry ongiving encores for hours on end. He would pursue any musical lost causeand learn and perform the most unbeguiling modern works, while stillpounding out renditions of the Tchaikovsky, Liszt and Grieg warhorses‘because one enjoys playing them so much’, as I heard him say in abroadcast interview. I think he played more works in a single season thanMichelangeli and Serkin played in their entire lives. He was a prolificcomposer into the bargain, but the most pitiful aspect of the whole sagais the wince-making story of the punishing concert schedule he took on topay for better suites of furniture and other manifestations of his wife’sseeming desire to be some kind of Hyacinth Bucket.
It was all bound to end in tears, and it ended in worse than that. Hesuffered a breakdown in 1973 while still in his 30’s but continued pushinghimself beyond endurance. The reliability of his playing became, notunnaturally, a little unpredictable, but if one thing is for certain it isthat he got through a lot of output. I am reminded of a phrase in the oldLatin liturgy about one of the Jesuit saints ‘consummatus in breviexplevit tempora multa’ – burned up in a brief space he achieved manylifetimes. Trying belatedly to know his work better, I find one thoughtgrowing on me. Of pianists born in the 20th century there are six, I donot say which, who stand out for me by virtue of an extraordinary andpre-eminent individuality. There is no seventh, but if there were aseventh for me it might well be Ogdon. I am only half in agreement withthe view that he did not live to establish a fully distinctive manner.Horowitz and Michelangeli both, Horowitz showing at least basic courtesyMichelangeli a great deal less, disparaged a new generation ofnear-indistinguishable assembly-line virtuosi. What I do feel is that thisset does not quite show why I might exempt Ogdon from this category.
The technical dispatch is colossal. Ogdon placed his massive frame on thepiano stool and any movement was from the elbows downwards, recalling tome some accounts of Handel’s playing. I am not bothered in the slightestby a misplayed chord in the Alkan – good heavens try assessing Horowitz orRichter on that basis. The Rachmaninov sonata has to face comparison withHorowitz and it comes badly out of it. It is full of fire, drama andvirtuosity, but there is far too much pedal and one appreciates just howsavvy Horowitz was. He gets into his stride with the short Scriabin sonataand stays in it from there on. In the Alkan the obvious comparison is withRonald Smith, but as Professor Smith uses an instrument contemporary withthe composer the comparison is tricky and probably a bit pointless. Whatdoes start to identify something really unique in Ogdon here is the senseof continuity and unremitting concentration in the first movement, nearlyhalf an hour of it. The BBC have a performance from him of Schubert’s Cminor sonata that is the greatest I have ever heard, better than Lupu andfar better than Zacharias, and if you ever hear that amazing account ofthe last movement, seemingly played as one huge phrase, you may see andhear what I mean. I find something of the same here in the Alkan.
The biggest thing on this set is obviously Busoni’s tyrannosaurus of aconcerto. For me this is what Horowitz called ‘grosse Kleinkunst’, full ofwind, sound and fury signifying not much. If I could even recall the otherperformances that I have heard of it I should not be surprised to findOgdon’s the best, and I am certainly not in search of better. The generalpattern is as before – terrific virtuosity, but in a piece where theactual music does nothing for me the playing does not quite do the trickfor me either as, say, Michelangeli’s does for me in Liszt’s almostequally unalluring Totentanz. In Ogdon’s memory I hope the BBC maysometime release a performance of Liszt’s E flat concerto from him, inwhich he seemed to me to rival Cziffra and maybe even Michelangelihimself. I have had enough glimpses of what he really amounts to for me towant to get to know more.
Rest well now, big guy, if anyone ever tried his outright hardest you did.The world is a better place for what you put into it.
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5 of 5 people found the following review helpful:
4.0 out of 5 stars A great pianist well recorded, 23 Feb 2003
This set of cd's from phillips is one of the most viatl (for any pianophile) volumes in the series "great pianists of the 20th century".

The Rachmaninoff Sonata on the first disc is terrifically performed, the middle movement imbued with a tragic melacncholy. One can only marvel at the depth ogdon attains in this elusive music, with his marvellously careful weighting of each and every note in the movement. His balancing of voices is deftly done, his complete mastery of the instrument plain for all to see. In the Finale, he pulls out all the stops, and plays it with a dynamism that would make such celebrated exponents of this work pale in comparison.

The Alkan concerto is a nightmarishly difficult work, spanning at 50 minutes in length (at least) and very few can meet the technical challanges that this piece presents. The tremolos and mountainous chords are childsplay for ogdon. It can become a bit messy at times, but the way he surmounts the technical hurdles in the first movement in particular leaves the listener in no doubt that he possesses one of the most collossal techniques ever to grace the keyboard.

The other important work on this disc is the Busoni concerto. It is possibly the longest piano concerto in the repertoire, and one of the most difficult. Needless to say, Ogdon plays it to the manner born, and his traversal of the huge chords that open the work, right through to the choral finale is phenomenal. A must in every pianists collection.

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