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Rob Cowan
Gramophone, June 2018

Géza Anda is both forceful and elegant in Beethoven’s Piano Concerto No 3, and if elegance wasn’t generally Knappertsbusch’s bag on this occasion he put his marmoreal side on hold for a well-proportioned accompaniment. The mono sound is perfectly acceptable. © 2018 Gramophone  Read complete review on Gramophone



Huntley Dent
Fanfare, January 2018

Knappertsbusch interests me when he stops being stodgy and becomes engaged with the music, at which point the wisdom and nobility attributed to him might emerge. The 1962 program begins with a deliberate reading of the Euryanthe Overture… The reading is straightforward in every way, including tempo; there’s no indication of who might be conducting. Anda handles the solo part with considerable brio in the outer movements and sensitivity in the Largo.

The second CD, devoted to Brahms, begins with the Haydn Variations in unpromising fashion thanks to a pinched, astringent first oboe. Knappertsbusch takes a calm view of the theme but not at an abnormally slow speed—he is emphasizing its organ-like grandeur. …this is one case where he achieves a sense of majesty, even with a fairly standard radio orchestra at his disposal. © 2018 Fanfare Read complete review




Remy Franck
Pizzicato, July 2017

Hans Knappertbusch’s expansive conducting could bring fabulous results. But in 1963, orchestras were used to a more modern Brahms. In Cologne, we sense a certain resistance of the musicians to what Kna is doing, while in his Third Brahms from Stuttgart, recorded at the same period, the result is absolutely fascinating. …This Orfeo album is valuable above all for the Beethoven’s Third Piano Concerto with Geza Anda and a very emotional Euryanthe overture. © 2017 Pizzicato





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