The best recording
Barry Tuckwell, the LSO’s principal horn
Barry Tuckwell (horn)
London Symphony Orchestra/ István Kertész
Decca E460 2962
The catalogue is not short of recordings of Strauss’s Second Horn Concerto, which has proved a draw to many of the finest soloists of the late-20th and early-21st centuries, not to mention conductors including the likes of Herbert von Karajan, André Previn and Vladimir Ashkenazy. For those wishing to explore different versions, the choice is rich indeed.
Two of those recordings were made by the late Australian horn virtuoso Barry Tuckwell, the first of which dates from 1966 and is still the finest account available. Tuckwell was at that time the principal horn of the London Symphony Orchestra (LSO) and he enjoys a palpable rapport with this ensemble, which is on fabulous form under the baton of the Hungarian conductor István Kertész.
This was a vintage era for the LSO, which had been transformed under the leadership of the French conductor Pierre Monteux during the last three years of his life. Kertész took over the reins when Monteux died and was renowned for his hot-blooded podium style that resulted in some excellent recordings, including the legendary account of Bartók’s opera Bluebeard’s Castle with mezzo Christa Ludwig as Judith.
Tuckwell’s tone is the perfect balance of brassy and rounded in his intelligent reading of Strauss’s score. He is equally at home in the music’s hunting calls and flowing melodies – and knows just when to project and when to fall back to let other players speak. His conception of the first movement is particularly impressive, with Strauss’s frequent tempo changes sounding very natural. Tuckwell’s own use of rubato is sparing and tasteful.
Soloist and orchestra sound gorgeous together in the second movement’s opening melody and the transition to the central section in D major is beautifully dovetailed, as is the return to the home key of A flat. Tuckwell takes only a moment after the final chord of the slow movement has faded away before setting the finale in motion with his beautiful piano entry. His playing here has an infectious energy, underpinned by the nicely judged détaché articulation of the LSO strings. The rest of the movement proceeds with similarly irrepressible momentum while saving enough in the tank for an exhilarating coda.
Decca’s sound is ideal – neither too close nor too roomy – and the balance is excellent.
