Here are three Alfred Cortot recorded benchmarks alongside one of the great pianist’s worst recordings. Granted, Cortot generates genuine excitement and fire in Ravel’s Left Hand Concerto; but face it, he would have done better playing it with two hands! At least Charles Munch captures the composer’s gritty, primeval sound world, and you can hear more of it in Mark Obert-Thorn’s resonant new transfer than in Seth Winner’s brighter yet somewhat bass-shy restoration on Pearl.
By contrast, Cortot has no problems with the icy runs and scintillating patterns of Saint-Saëns’ Fourth Concerto. He plays with more force and imagination than Robert Casadesus, who also recorded this overlooked opus with Munch at the helm. Both the Saint-Saëns piece and Franck’s Symphonic Variations sound infinitely better here than the compressed, nasal transfers made for Philips’ Great Pianists series. Sonically and interpretively, I prefer this 1934 Franck to Cortot’s 1927 version. The earlier recording is more secure from a pianistic standpoint, but Landon Ronald’s later accompaniment reveals a higher standard of orchestral playing. Listen to the insouciant ease with which Cortot tosses of Saint-Saëns’ Waltz-Etude and you’ll understand why Vladimir Horowitz envied the older pianist’s rapid repeated notes. This selection boasts added definition and room tone in the Seth Winner Pearl transfer, but Obert-Thorn uncovers more bass. Buy this for the Franck and Saint-Saëns.
