The way he playes it actually sounds a lot like what I'd expect it to sound from Brahms, the way he does the little riterdandos especially, but overall the way he performs just sounds like Brahms, tho there are a few things I disagree with it's certainly an amazing interpretation
A revelation! I love hearing pianists from that era playing 19th century works, especially those who studied with Liszt, Brahms etc. So different to what we hear today.
Hmmm.. This interpretation actually makes me appreciate Brahms more for miniatures on piano. I think it is more good performer making a bad piece sound good.
Lamond fan for a long time, some of his Liszt recordings are peerless. No, he didn't have the fingers of a Lhevinne or a Barere, but then neither did Schnabel. I like D'Albert's recording of this better, which as far as I know is the only Brahms selection recorded by any of Liszt's students. By the way, the only Lamond recording that hasn't been released on Biddulph, APR, or Marston is an acoustic of Rubinstein's Barcarolle in G minor.
Along with half of his Decca recordings, his acoustic recording of L'Alouette and the electric recording he made of Hammerklavier. Unlike the rest of those recordings, the Barcarolle is easily available on Internet Archive here archive.org/details/78_barcarolle-op50-no3-in-g-minor_lamond-frederic The 1922 L'Alouette is actually available on Ebay for kinda cheap but I do not have a decent gramaphone at my disposal and I do not wish to pay the exorbitant shipping fees to get the disc over here anyways. The Decca and Hammerklavier discs are a completely different story though. Since most of the Deccas (1941 Feux Follets, Waldstein, Moonlight, Liebestruam 3) and 1927 Hammerklavier were never published, it would be nearly impossible just to find them.
@@pianomaly9 The thing was never issued and is now lost. It's such a shame because tonnes of people, including Liszt himself adored his interpretation of the Sonata, especially the Fugue.
@@LamondFan Missed your first comment that it wasn't published. I remember reading that Lamond, then seventeen, had the fugue prepared to play for Liszt, but the master declined to hear it for several days, and Lamond was nearly in tears. Don't recall when the audition finally took place. Liszt was very moved by L's playing of Op. 81a.
