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Felix Mendelssohn Bartholdy, Concerto pour piano et orchestre No 1 en sol mineur, Op. 25, Ania Dorfmann, London Symphony Orchestra, Walter Goehr, 1938
Cet enregistrement est paru en 78 tours, sur Columbia DX 893/894 et Columbia DB 1776, ainsi que sur le très joli SET Columbia MX-124, 70598 D (CAX 8375). On trouve quelques divergences sur la date d'enregistrement: une datation fréquente est celle du samedi 1er janvier 1938, Abbey Road, Studio no.1, Londres. Elle est très plausible, car la parution de ce disque - Columbia, DX893-4 - est annoncée à la page 15 du Gramophone de janvier 1939 (voir http://www.gramophone.net/Issue/Page/January%201939/15/836947/):
"[...] How welcome, in these days, is the best Mendelssohn — and even some of the lesser parts of his ever eupeptic art, such as we have here. Never without affection can one listen to things that so early stamped the mind with the Mendelssohnian mint. This pianist makes sure of bringing out the masculine, athletic side of him: but I find a sense of hurry in the first movement, and some hardness in outlines; yet it is no use making this cheery, race-running music sound lazy, timid or flower-picking. But nosegays can be gathered, if the players are a little less set on keeping the handle turning than I feel they are here. It needs more humoring, and more varieties of tone. Mendelssohn was not a child of the steel age. When he lets a clarinet melody sing, he wants it to sink in, without any excess of sentiment. The piano part is, admittedly, too much bedizened—a little forcibly made-up, in the dramatic sense; all the more reason, I think, why it should not be forced in performance.
At the beginning of side 2 there is an amusing bit of fingerprinting, and in the middle of this side, one of the composer's charming transitions to the Song without Words spirit. If the word religioso cannot now be separated from it, we do well to cast our minds back to the day when this designation was taken ever so much more naturally and seriously, when such thought was fresh, tender, soulful. The pianist could give a finer quality, I think, to the curving of the phrases. The reproduction of instrumental tone is extremely good, the slightly hard edge being the result of the way the keys are touched. I should like a finer sense of the poetry, and of the art of shading piano tone. The finale is flashy, if you like, but it is whole-hearted and innocent flashiness. The pianist gets a lot of good effect out of it, being best suited, I feel, with music at which she can drive full tilt. [...]"
Pour une courte biographie d'Ania Dorfmann (1899 - 1982) voir par exemple http://www.naxos.com/person/Ania_Dorfmann/13513.htm
Voici donc...
Felix Mendelssohn-Bartholdy, Klavierkonzert Nr. 1 in g-moll, op. 25, Ania Dorfmann, London Symphony Orchestra, Walter Goehr, Abbey Road, Studio no.1, 01.01.1938 (1. Molto allegro con fuoco 07:26, 2. Andante 05:11, 3. Presto 05:47)
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Disponibilité actuelle (septembre 2010) sur CD: cet enregistrement est paru - entre autres - sur Dutton CDBP 9781 et sur Pavilion/Pearl/Harmonia Mundi, The Columbia Recordings 1931-1938. Les deux CDs ne sont plus au catalogue, mais encore disponible sur certains sites, par exemple sur arkivmusic.com.
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