John Browning - The Complete Rca Alb Um Collection

Beginning in the 19th Century, three traditions, or “schools”, dominated piano performance: The German school, which traced its roots to Beethoven; the Russian school, which was founded by Anton Rubinstein; and the French school, which came into being at the end of that century. In the years following World War II, an American school of pianism began to emerge, which fused elements of the German and Russian schools – although many American pianists also played music of the French Impressionists. Examples of the American school included William Kapell, Leon Fleisher, Gary Graffman, and John Browning. Of these four, Fleisher hewed more toward the Germanic end of the scale, Kapell and Graffman to the Russian, while Browning was the most quintessentially American - particularly in terms of repertoire, as he championed the music of Samuel Barber – and perhaps the most cosmopolitan overall. This 12 CD set from Sony includes all of Browning’s recordings for RCA Red Seal and his one recording for Columbia Masterworks, recorded from 1964-1996.The two recordings of Barber’s Piano Concerto make for fascinating comparison. The early version, with Szell and the Cleveland Orchestra, begins with a virtual “crack of creation” and grabs the listener by the throat from beginning to end. The later one seems more interested in enjoying the journey, pointing out interesting views. It goes without saying that the sound quality in the later recording is fuller bodied and more dimensional – and the St. Louis Symphony under Leonard Slatkin are in excellent form throughout.Browning’s take on Beethoven’s Diabelli Variations is technically flawless and tonally gorgeous. Yet I miss the characterization that Rudolf Serkin, among others, brought to the piece, which develops a rather clumsy waltz by Anton Diabelli into a monumental edifice. There’s no lack of characterization in Browning’s rendition of the Sonata, Op. 110. The pianist vividly contrasts the more meditative and extroverted sections of the opening movement, while the second movement is boldly projected. In the slow movement, Browning’s ruminative pacing brings to mind Schnabel’s comment about the spaces between the notes, while the fugue is presented with structural and pianistic clarity. The Beethoven Triple Concerto adds Pinchas Zukerman and Ralph Kirshbaum to the mix. There’s a lovely sense of cohesiveness to this performance, almost chamber music with orchestral accompaniment, which is often missing from performances by “star” soloists. The London Symphony under Eschenbach provides a fine accompaniment.Browning gives a straightforward, technically formidable rendition of Schumann’s Symphonic Etudes. His pedaling and phrasing of certain parts, like the march in variation three, are just so right. Incidentally, while Browning doesn’t play any of the posthumously published variations, he plays the extended sections of the Finale which have become increasingly popular in recent years.Chopin would likely been aghast to learn there are multiple pianists who perform all of his Etudes in the space of one concert, and of course recordings didn’t exist during his era. Browning tackles these pieces with flawless technique and responsible sense of flair, never making an interpretive misstep. The E major, Op. 10, No. 3, has a lovely, unforced poetry. There are certain Etudes where I would have preferred a more individual stamp – such as the Revolutionary which, for all the clarity in the left hand runs, sounds rather perfunctory. But that’s a minor quibble and this set ranks with the best.The Tchaikovsky Concerto starts promisingly but soon heads downhill. Browning’s delivery of the famous octaves in the opening movement is so clear and even as to sound faster than they are. But jarring tempo changes in the finale wreck inner continuity and dilute the tension that leads to the coda. There’s really nothing special about the Ozawa’s accompaniment with the London Symphony.With the Prokofiev Concertos, we reach the peak of the set (along with the Barber). I’ve long since given up on the notion that any given recording of a classical work is “definitive” – particularly in oft recorded works. But Browning’s “rock ‘em, sock’em” rendition of the Second Concerto, which makes Ashkenazy sound tame and Bronfman sound tepid, is now my “go to” rendition of this work. The First Concerto likewise moves with gusto and flair, and plenty of poetry in the work's dreamy sections. By Browning's own admission, the Third was the only of Prokofiev’s Concertos that he knew well before he’d recorded the work. As with the Second Concerto, Browning employs a wide dynamic range and lavish colors, without overusing the sustaining pedal. His performance of the outer sections of the finale is among the most exciting I’ve ever heard. The main snag in this recording is an unnatural sound balance between piano and orchestra. Further, there appears to be quite a bit of dynamic alteration on the part of the engineers – with the opening clarinet solo glaringly loud, followed by a dynamic reduction which nullifies the orchestral crescendo. With so many Prokofiev Thirds on record, the sound issues prevent this from being a first choice. The Fourth Concerto (for the Left Hand alone) is another matter, with Browning’s clear, steely articulation putting Serkin’s to shame. The Fifth Concerto is a in a relatively lighter vein compared to its predecessors and Browning’s playing is a joy throughout. Leinsdorf and the Boston Symphony prove to be superb collaborators throughout.Browning in joined by co-pianists Leonard Slatkin and Garrick Ohlsson for Barber’s Souvenirs and Saint-Saëns’ Carnival of the Animals, performances that are charming and evocative. Melissa Joan Hart introduces the Saint-Saëns but is otherwise unheard. I had no idea who she was until Googling her after hearing the recording, but this seems to have been an attempt to give the recording crossover appeal. But her introduction is so annoyingly written and performed, it’s best to just skip the track.Browning’s Ravel consistently emphasizes the modernity of each work. For once, the Sonatine is presented as an example of Sonata form, not a quaint student piece. In some ways, Browning’s take on Le Tombeau de Couperin seems as influenced by Couperin as by Ravel, with sparse pedaling in the faster movements. The prelude boasts some dazzlingly even passagework, and the final Toccata is taken at a breakneck pace that makes Cliburn seem lethargic. Browning pulls out all the stops for Gaspard de la Nuit. Some of the colors in Le Gibet are ravishing, nearly lurid, while the dexterity and “go for broke” passion in Scarbo is well into the Argerich class.This set includes nearly 100 minutes worth of Debussy recordings which have never been issued before: Pour le Piano, Images Books I and II, Estampes, and the Preludes Book II. It is not known precisely when or where they were recorded (from the sound quality, it sounds like a studio recording from the 1960s), and the Preludes are in mono. Despite the sonic limitations, Browning’s Preludes are lavishly colored, beautifully shaded, with the right balance of melody and inner voices. One of the most difficult aspects of piano technique is the ability to control multiple levels of pianissimo: soft, softer, softest. There are even well-known pianists who were unable to do so (no names, please). Browning is one of those who could, and it shows not just in the Preludes, but in the stereo Debussy items on the following disc. Not that all is quiet here, the Prelude and Toccata from Pour le piano are hallmarks of well-paced virtuosity.The set includes a perceptive essay by Jed Distler. With the exception of the last three discs, original cover art and liner notes are included. There’s been much talk over the past few years about CDs being replaced by streaming media – even as LPs enjoy a resurgence. I hope that Sony will continue to reissue their back catalogue onto CD. With the 100th anniversary of the Cleveland Orchestra coming in 2018, a complete issue of Columbia’s and RCA’s recordings with that orchestra would be most welcome.

I had the great privilege to know and work with Mr. Browning beginning 1976 (he recommended me for the 1981 Van Cliburn Competition) until his death in 2003. In addition to the incalculable & indelible musical and pianistic lessons he taught me, and the dozens of amazing public and private concerts I attended (including about 30 different concertos, 25 major recitals and his last three appearances in 2002 -- please see attached pics), most prized was his friendship throughout the years -- John Browning was a genius and a true gift to the musical world. Since childhood, having eagerly listened to all his available recordings, including radio broadcasts of live performances, I was extremely excited to learn of this compilation of his RCA releases, mostly from the 1960's, available on CD in this set for the first time (long overdue!). I have each album in original LP vinyl version (now mostly worn out!), and it is a treat to enjoy them on these well-engineered & presented CDs. Previously unreleased material is also included in this set -- a treasure! It is too bad he didn't record more on RCA in his early years, as the sound is particularly good. He was gone way to soon! I AM GRATEFUL FOR AND HIGHLY RECOMMEND THIS COLLECTION -- definitive interpretations of Barber, Beethoven, Chopin, Debussy, Prokofiev, Ravel, Schumann. It should also be noted that he recorded in ONE take -- ALL 5 Prokofiev Concerti, Tchaikovsky Concerto, Ravel's Sonatine, Tombeau (his Toccata is the best you'll ever hear) & Gaspard (his Scarbo is legendary), the Chopin Etudes, Beethoven Diabelli, etc. -- no re-do's, no touch-ups -- truly astonishing!

John Browning was one of the great American pianists of the 20th century. This box set contains a broad sampling of his solo and concerto recordings including the five Prokofiev piano concertos, Brownings early and mature recordings of the Barber concerto (which Barber composed for him and which he was master of), a nice CD of Ravel's piano music, a previously unreleased Debussy piano recital, the Chopin Etudes, Beethoven's sonata #31, Triple Concerto and Diabelli Variations, the Schumann Symphonic Etudes, Tchaikovsky's piano concerto and a number of other recordings. The sound quality is very good overall (for an excellent, in depth commentary of each disc, read the review by Hank Drake posted on Amazon). If you bought these CD's separately you'd pay several times the price of this box set. The collection is worth having and is highly recommended.

It is great to have so many of Browning's recordings available in a single box, and in superb sound. Try Schumann's Symphonic Etudes for starters. It bristles with energy. What he does in the final variation reminds me of what Fleisher does in the last variation of the Brahms Handel Variations. Browning never received the acclaim he deserved during his lifetime. One hopes this collection will renew interest in this neglected pianist.

Not very popular but certainly worth knowing!1

I am still only halfway through listening to this whole set, but just based on the Chopin Etudes and the Debussy discs alone I feel that I have been rewarded for purchasing the set.John Browning was an American pianist who studied with Rosina Lhevinne, an exponent of the so-called 'Russian School' of piano playing. Arthur Rubinstein was also schooled by this method. In essence, there is economy of motion in technical passagework, but always with a round, sophisticated sound.Browning has phenomenal control and dexterity. In his performance of the Chopin Etudes, for example, he is able to bring out many inner parts that are often glossed over. Beyond his fabulous technique, he presents you with a very rich set of Etudes - truly perfect little musical vignettes.The Debussy needs to be heard to be believed. The colours, shading, and voicing that Browning employs transcends the notes on the page. One is simply transported to another world.I can't wait to get through the rest of the discs in this wonderful set.It is a shame that this great pianist was not more highly regarded. Beyond this RCA set, there are precious few recordings available.Highly recommended as a a much deserved commemoration of a pianist of the highest level.

プロコフィエフの協奏曲がNO1から4まで収められているが作品との相性がよくラインズドルフらの指揮もよく満足できる。BARBERのセルとの協奏曲もいい。　他の独奏曲等については限らず近年の演奏のつまらない印象を多くの演奏者と共有しているような印象もあるがディアベリ変奏曲は美しく聴きものだ。

Browning was most famous for his closeness to Sam Barber, who wrote his late Piano Concerto with Browning in mind. This box contains both versions of that work which he recorded, also included are Barber's Souvenirs. The earlier recording with George Szell, which includes the only recording of William Shuman's Songs of Orpheus, a work for 'cello and Orch, played here by Leonard Rose, has been unavailable in North America since the LP days.There are 12 disks here, most in their original sleeves reproduced in cd miniature. Some, like the undated Debussy program, were never published, or had different couplings. Browning was such a superb pianist it is hard to fault any of these recordings and all these evidences of his art are most welcome, since they also convey a very personal imprint of control balanced with intensity.