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Long only available on rare imports, and in new 32-bit XR remasters - this is unmissable
Notes on the recordings: Listening to these three recordings it's not difficult to distinguish the sonata recorded in 1954 from those recorded two years previously. The overall tone of Sonata 27 has a richer quality than I've been able to bring out in Sonatas 28 and 29, and in its original review in The Gramophone (not quoted here) the reviewer ends with an observation that: "The whole of this disc is very well recorded", something of a contrast to the criticism directed at the Hammerklavier recording. The latter sounds, to modern ears, especially flat and boxy, with a very limited lower extension which appears almost to hollow out the sound of the piano. The result is indeed a recording which suggested a much poorer performance than Backhaus actually gives as it minimises the impact of both the dynamic range of his playing and the subtleties therein. In all three sonatas in this volume I've been able to enact a dramatic transformation in the sound of the piano, despite almost constantly having to fight against multiple shortcomings in the original recordings, something that has been a constant throughout this series. Pitchwise, apart from a sag during the first movement of Sonata 28, these were generally fine. But in the recovery of piano tone I've had to lift a lot of tape "shash" into the realms of audibility - and then try to suppress this whilst retaining the piano. By and large this has been a successful mission, but at times one may still be reminded of the vintage of these recordings. From the Pristine Classical newsletter of 20 April 2012:
Andrew Rose
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Biographical notes from Wikipedia
Wilhelm Backhaus ('Bachaus' on some record labels) (March 26, 1884 – July 5, 1969)[1] was a German pianist and pedagogue. Born in Leipzig, Backhaus studied at the conservatoire there with Alois Reckendorf until 1899, later taking private piano lessons with Eugen d'Albert in Frankfurt. As a boy of 9 or 10 he was taken to hear both of the Brahms piano concertos performed by d'Albert — and conducted by Brahms himself. He made his first concert tour at the age of sixteen. In 1905 he won the Anton Rubinstein Competition with Béla Bartók taking second place. He toured widely throughout his life - in 1921 he gave seventeen concerts in Buenos Aires in less than three weeks. Backhaus made his U.S. debut on January 5, 1912, as soloist in Beethoven's 5th Piano Concerto with Walter Damrosch and the New York Symphony Orchestra.[1] In 1930 he moved to Lugano and became a citizen of Switzerland. He died in Villach in Austria where he was to play in a concert. His last recital a few days earlier in Ossiach was recorded. Backhaus was particularly well known for his interpretations of Beethoven and romantic music such as that by Brahms. He was also much admired as a chamber musician. One of the reasons for his unique sound is his choice of a Bösendorfer piano for his performances and recordings, as opposed to the more common use of Steinway pianos.
RecordingsAccording to some critics,[citation needed] Backhaus was one of the first modern artists of the keyboard (see Alfred Cortot for his antithesis) and played with a clean, spare, and objective style. In spite of this analytic approach, his performances are full of feeling. One of the first pianists to leave recordings, he had a long career on the concert stage and in the studio and left us a great legacy. He recorded virtually the complete works of Beethoven and a large quantity of Mozart and Brahms, and he was also the first to record the Chopin etudes, in 1928; this is still widely regarded as one of the best recordings (Pearl 9902 and others). Backhaus plays them smoothly and softly, overcoming their technical challenges without apparent effort. A live recording from 1953 includes seven of the Études, Op. 25 and shows the changes that occurred in his playing style over the years (Aura 119). His technical command is the same, but he is more relaxed and confident and more willing to let the music speak for itself. His January 27, 1936 recording of Brahms's Waltzes, Op. 39, runs just over thirteen minutes. His studio recordings of the complete Beethoven sonatas, made in the 1960s, display exceptional technique for a man in his seventies (Decca 433882), as do the two Brahms concertos from about the same time (Decca 433895). His live Beethoven recordings are in some ways even better, freer and more vivid (Orfeo 300921). His chamber music recordings include Brahms's cello sonatas, with Pierre Fournier, and Franz Schubert's Trout Quintet with the International Quartet and Claude Hobday.[2] The Times praised Backhaus in its 1969 obituary for having upheld the classical German music tradition of the Leipzig Conservatory. His phenomenal transposing powers spawned many anecdotes: finding the piano a semitone too low at a rehearsal of Grieg's A minor Concerto, he simply played in B flat minor — and then in A minor at the concert, after the instrument had been correctly tuned.[3] Backhaus was quick to recognize the importance of the gramophone. His July 15, 1909 somewhat abridged recording of the Grieg Concerto was not only the first recording of that work, but the first time any concerto had ever been recorded. Later, on January 5, 1928, he made the first complete set of recordings of the Chopin études. At his death, Backhaus was just completing his second complete Beethoven sonata cycle. All that was missing was the Hammerklavier Sonata — when, according to the Beethoven specialist Stephen Kovacevich, Wilhelm Backhaus was the only pianist to have really understood it. (Excerpts from the book/guide to the “Great Pianists of the 20th Century”, published and © in 1998 by the Philips Music Group).
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