Benno Moisieiwtsch had a knack for making Liszt’s more flamboyant concoctions sound noble, poetic, and utterly important, as you can readily hear throughout the Hungarian Fantasia. Similarly, Moiseiwitsch’s relaxed virtuosity and creamy, singing tone are just what Saint-Saëns’ Second Concerto requires. Annotator Jonathan Summers claims the pianist lacking in “sparkle and joie de vivre,” but I heartily disagree. Poor orchestra/solo balance reflects the trying, wartime conditions under which the 1941 Grieg Concerto was recorded, yet Moiseiwitsch is on more assured and incisive technical form compared with his tamer postwar remake reissued on Testament.
Collectors aware of Bryan Crimp’s transfers for these recordings on APR 5529 will want to know how Ward Marston’s Naxos remasterings compare. Marston, in general, favors a brighter EQ on top, with less bass emphasis. As a result, the brass and percussion emerge with heightened clarity in the Hungarian Fantasy’s final section. On the other hand, the piano boasts more room tone and presence in Crimp’s Saint-Saëns transfer. In short, don’t replace the APR disc if you already own it, but first-time customers should consider this one, especially at Naxos’ unbeatable bargain price.
