巴克豪斯分别于1960年8月2日（莫扎特）和1968年8月15日（勃拉姆斯）在萨尔茨堡音乐节上的实况录音，伯姆带维也纳爱乐乐团。录音均为单声道，音质不太理想（尤其是勃拉姆斯），有兴趣者可作为DECCA Legend1967年录音室版的补充收藏。

Wilhelm Backhaus (piano)
Hans Knappertsbusch （CONDUCTOR）
Bayerisches Staatsorchester
(rec.1959/12/14 LIVE)

R E V I E W S:
Gramophone
"Knappertsbusch had given up conducting at the State Opera and at the Salzburg Festival when Karajan was put in charge of both organisations in 1957, but he continued to conduct the VPO. In his mid-seventies at the time of these concerts, he remained indomitable and uncompromising. His rangy, slightly unkempt looks tell of his refusal to become a personality or indeed have much truck with audience applause: in every case here, after one bow, he leaves the soloists to take the limelight... He is at his most pawky in Leonore 3, the reading slow and undramatic. Once joined by the 78-year-old Backhaus, he is transformed. Backhaus gives an interpretation of the G major Concerto that is a distillation of all his years in the composer’s service. The reading is illumined by his grasp of colour, his delicate execution and his sheer joy in purveying the composer’s ideas as if he had alighted upon them for the first time. In the finale the years fall away as the two veterans make the music fleet and dance-like. Backhaus rightly receives a spontaneous ovation...Nilsson’s voice emerges out of the stillness of the Tristan Prelude in glorious form, steady and gleaming in Isolde’s transfiguration. Then at the height of her powers, she discloses her amazing facility as regards technique and a control of nuance, both virtually unheard-of today." - Alan Blyth, GRAMOPOPHONE

was released in 1999. Ever since his acclaimed set of the five Beetoven concertos with Klemperer in 1968, Barenboim has had serious credentials as piano soloist in these works. Twenty years later he decied to take on the double role of pianist and conductor. Is this an act of arrogance or folly? Beethoven's orchestral parts are symphonic in scale, and alth9ugh I'm sure Barenboim thoroughly drilled his interpretations into the Berlin Phil., they are weak interpretations to begin with. Even here in the relatively undemanding Concertos #2 and #3, the orchestra needs a real leader, not just one of Barenboim's free hands. The tempos tend to be on the slowish side, and there are almost no interesting events--all we hear is Barenboim the pianist concentrating on his part, which he plays well but with only half the energy and imagination he showed twenty years before. The fast movements are rhythmically slack in both concertos, while the slow movements are fussed over within an inch of their lives.