This transaction got me thinking about the composer, and records of his music in my collection. And in truth, my favorite Khachaturian concerto is not his rumbustious effort for the piano, but his gorgeous, atmospheric violin concerto.
My first choice for soloist was blog favorite Louis Kaufman. So I dutifully transferred his version, coming to the reluctant conclusion that this isn't his best recording. He sounds over-stretched, and the sound, too, is wuzzy (a word I just invented that combines fuzzy and woozy). The good news is that the accompaniment from the Santa Monica Symphony and Jacques Rachmilovich is sturdy, what you can hear of it.
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| Cover of the Kogan version |
A later Kogan recording had been my introduction to this work many years ago, in his early stereo version with the Boston Symphony and Pierre Monteux. I still find that reading entirely magical, but this earlier effort is not far behind and has reasonably good sound to boot.
I believe the Kogan-Khachaturian is either the third or fourth commercial recording of the work. My pressing is on the "International Recorded Music Society" label, which appears to be a Concert Hall Society spin-off dating from the late 1950s.
Kaufman's effort is purportedly from 1945, which would likely make it the concerto's second recording. I am a little dubious of the date because it would come before the founding of the record company itself (i.e., Concert Hall Society), but I suppose it is possible.
The initial recording of the concerto was by dedicatee David Oistrakh with Alexander Gauk, made the year after the work's 1940 premiere.
Please enjoy these contrasting views of this delightful composition and feel free to provide your reactions in the comments.
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| Khachaturian and Kogan with Soviet notables circa 1960. From left in the front row are the composer, Tikhon Khrennikov, Premier Nikita Khrushchev, and Dmitri Shostakovich. Kogan is third from the left behind this group, with Mstislav Rostropovich over his left shoulder. |