whimsy tends to cajole his audience into enjoying each moment rather than listening for long-range strategy. If viscerally exciting moments of Pictures at an Exhibition in this 1982 concert performance have something of a casual feeling about them, the quieter sections contain much piquant colour, and Cherkassky’s kaleidoscopic imagination extends to a dynamically inventive final chord. The combination of Cherkassky’s capriciousness and Georg Solti’s blunter energy might seem an incongruous pairing for the Tchaikovsky First Concerto, but apart from a few divergences in ensemble this performance is a reasonable one, if not nearly the satisfying collaboration that Cherkassky’s 1951 recording with Leopold Ludwig represents (Philips).
CLAUDIO ARRAU (1903-91) heard and greatly admired Busoni, and was thoroughly ambivalent about Hofmann and Cherkassky, but his playing was less volatile and more ‘modern’ than either school. The chief value of these 1960 broadcast recordings of Beethoven’s Sonata Op. 27 No. 1 and Schumann’s Fantasy is their unusual degree of intimate spontaneity (possibly either enhanced
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