Alfred Brendel, Berliner Philharmoniker, Claudio Abbado - Brahms: Piano Concerto No. 2 (1992)

In 1991 Brendel and the Berliners wee headliners at the Proms in London, wowing the huge Bank Holiday crowd with this Brahms Second; they returned to Berlin and set it down on tape. At the time, Abbado was still considered rather provisional as Karajan's successor, but he has always been a dedicated Brahmsian. It shows in the smooth, large-scaled, confident phrasing, and the plushness of the orchestra's sound in the latter days of Karajan's long reign remains. I must say that I find Abbado's Brahms too smooth, except when he is galvanized by a collaborator, as he was when h recorded the same concerto with a riveting Pollini. the way that Pollini fiercely pounces on phrases suits this music very well; we are not left in the ponderous doldrums of Gilels/Jochum or Arrau.
Brendel doesn't pounce. He has a big sound to go with his trademark clarity and detached phrasing – amounting to clipped fussiness if you aren't a fan – so one has to admit that is approach is magisterial. also, he is well partnered temperamentally with Abbado. There is no doubt that two world-class musicians of rather cool authority are in charge. If that sounds like your ideal Brahms Second, nothing goes wrong here. Tempos are conventional; Philips' sound is clear, full, and natural. The first horn and solo cello play their standout moments with real star quality.
What this Brahms Second lacks is spontaneity, personality, driving passion, or even a great deal of commitment. At times Brendel seems to be doing a Brendel impersonation. Especially in development sections where Brahms's writing can sound turgid or overworked in its earnestness, the solo part dog paddles until something more interesting comes along. It's magisterial dog paddling, but I miss the overarching greatness of Edwin Fischer, Serkin, Richter, the earlier Gilels with Reiner, and above all the extraordinary partnering of Barenboim and Barbirolli.