Five Piano Concertos and the Piano Sonata No. 32, opus 111, recorded in stereo in 1962 and 1964, respectively, by Wilhelm Kempff [1895-1991] and the Berlin Philharmonic Orchestra under Ferdinand Leitner [1912-96]. The sonata, the composer’s last, is certainly more than a mere filler, from the opening hesitancy of the ‘Allegro con brio ed appassionato’ to the extended closing section of the second movement.

In the 1950s these recordings would have given a very up-to-date impression, I imagine; the playing is extremely clean there's never a hint of sentimental violin slides or over-use of the sustaining pedal. But nearly half a century later, perhaps we're more conscious of the old-world virtues Schneiderhan's beautiful legato bowing and gentle vibrato, Kempff's full, unforced tone, and a flexible approach from both artists, with finely graded ritardandos and subtle variations of tempo.

Karajan’s artistic grip on the Salzburg Festival unofficially spanned three decades and woe betide anyone who upset him. Whether Kempff did or did not must be a matter of conjecture. What is sure is that this was his one and only appearance at the event. He was 63 years old at the time and lived to the ripe old age of 96, outliving Karajan himself. He was also a major recording artist for DG and their influence on the Festival was almost as pervasive as the conductor’s. Nevertheless this disc manages to fill a gap in Kempff’s discography with the Beethoven and Brahms works, two of the composers (Schubert and Schumann the others) with whose music this great pianist is readily associated.

Wilhelm Kempff was a master of poetic lyricism, with a wondrous keyboard touch and a breathtaking command of subtle dynamics and tonal colorations–all invaluable attributes of any Schubert interpreter. He also had the knack of holding together large structures that can often seem aimless, thus avoiding another trap many pianists fall into, that of lavishing so much attention on passing detail that Schubert's "heavenly lengths" can seem wayward wanderings. The one criticism often heard is that Kempff emphasizes poetry at the expense of drama. This magnificent set leaves that claim unsubstantiated.