Noel Mewton-Wood Vol 2 - Beethoven, Schumann, Piano Concertos

Noel Mewton-Wood’s (1922-53) journey from underestimated virtuoso to present-day icon is cause for both celebration and irony. Glowing testimonials to his ‘genius’ (Sir Malcolm Sargent) from Myra Hess, Beecham, Schnabel, Bliss, Hindemith and Britten were countered by indifference from the major record labels and concert managements, a situation that doubtless contributed to his suicide at the age of 31. Behind an ebullient surface, Mewton-Wood was a romantic idealist, susceptible to depression and mood-swings. So it is hardly surprising to find the dichotomy reflected in performances which alternate a luminous poetic delicacy with a rare energy and bravura. [[i]Bryce Morrison, Gramophone, November 2003]

On Beethoven
Noel Mewton-Wood recorded this extremely fine performance in 1952 with his regular collaborator on the podium, Walter Goehr (1903-1960), father of Alexander Goehr. Mewton-Wood, an Australian and something of a polymath, was, said John Amis “the only pianist I ever met who could (and did) whip out a broken piano string and put in a new one on the spot.” By his early twenties his repertoire included concertos by Busoni and Pfitzner in addition to those of Brahms and Beethoven; very unfortunately, this is his only recording of a Beethoven concerto.
Mewton-Wood’s playing in the Beethoven is fresh, youthful and spontaneous, and, as in his other recordings, the orchestra can be heard to be encouraged by his virtuosity. The pianist and orchestra are at one with one another in this recording. His dynamic range is wide, the pianissimos magically quiet, the fortissimos big and bold without forcing the piano’s tone. The slow movement is especially magical; time gets stretched listening to playing of this quality. The quick passage-work in the outer movements shows off his solid technique, the articulation faultless, a five-star performance. The orchestral contribution is musical, though those hoping for an equivalent to that of Berlin or Vienna will be disappointed, and Goehr directs with efficiency and affection. [[i]excerpt from notes by Peter Joelson]
On Schumann
Sensitively accompanied by Walter Goehr and the Netherlands PO - not the most accomplished of orchestras it has to be said - Noel Mewton-Wood produces a highly satisfying account of this popular work. The first movement is taken at a slower tempo than some take it these days; Howard Shelley in his new recording for Chandos (CHAN10509) sticks to the tempo indications assiduously, not slowing, for example, after the introduction. Allowing the music to breathe Mewton-Wood shows panache in the virtuoso passages and beautifully quiet playing in the slow movement. While playing times offer only an indication, Shelley’s performance reaches the finish line in a tad over 28 minutes, Mewton-Wood’s at 32 minutes is no less exciting.
The last movement is optimistic, majestic and energetic, where Mewton-Wood as usual gives a sense of a live performance. One gets the impression with his recordings for this label that not much time was given for sessions and patching, so the results do not have that perfect airbrushed feel to them. Mewton-Wood gets the majesty of this movement just right, and his is one of those recordings one wants to play over again immediately. [[i]excerpt from notes by Peter Joelson]