繼席夫之後，又一張用19世紀鋼琴彈布拉姆斯協奏曲的CD，梅利科夫也很喜歡研究不同時代的鋼琴，包括古鋼琴，我正好在幾年前於布魯塞爾聽過他用19世紀末的史坦威彈布拉姆斯鋼琴獨奏曲的音樂會，所以這次他用古董琴錄《第一鋼琴協奏曲》（軌二至四），我一點也不意外。
奇就奇在這又是一部在1859年、亦即是《第一鋼琴協奏曲》首演之年生製產的Blüthner鋼琴，會不會就是席夫用的同一部琴？當然這張CD不會寫明這就是席夫錄音的琴、或者說這不是，我感覺是同一部，但若然不是，樂器特質也是相同。
梅利科夫其實和席夫的差別不大，假如做盲試我不會聽得出來，不過我覺得梅利科夫的層次稍大，席夫傾向用最響的聲音，強音弱音都是，而梅利科夫會多用一些黯淡的音色，彈出不同味道。而樂隊上，席夫是和原音樂團演奏，在銅管以外委實和現代樂團不大分別，所以和這裏的（瑞士）巴塞爾交響樂團又是沒明顯分別。不過席夫較為硬橋硬馬的彈法，他也想樂隊硬接，至於梅利科夫的指揮保頓則較會保留，第一樂章的高潮不像席夫那邊用蠻力，但做出更高的逼力。
本碟其餘兩首序曲，布拉姆斯《悲劇序曲》（軌一）和《第一鋼琴協奏曲》同是D小調，又有一種暴風狂濤之感，應該就是這樣才用來開碟。軌五的Cherubini《伊莉莎》序曲，是在《第一鋼琴協奏曲》首演當晚演奏過的曲目，不過是庸作一首，聊作參考而已。
This is yet another recording of a Brahms piano concerto using an 1859 Blüthner piano. András Schiff’s complete set used an 1859 Blüthner as well. Perhaps it’s the same instrument? It’s hard to know, since there’s no reason for this Melnikov album to declare “this is the same piano as Schiff’s ECM recording” or “this isn’t the same piano.” I felt it’s the same piano.
I couldn’t tell Schiff’s recording from Melnikov’s if I was to be tested blind. They’re quite similar, but Schiff had a tendency to evoke the brightest sound, in both loud and soft passages. Melnikov’s touch was a bit softer and he wasn’t afraid to use the darker, less attractive hues to provide contrast.
Schiff play-conducted the OAE, which didn’t sound much different than a modern orchestra other than the brass. So again Melnikov’s Basel Symphony wasn’t so different from OAE. But a subtle difference might still be spotted, as Schiff’s hard-edged approach often required the orchestra to respond it with a clash, but Ivor Bolton was more careful and refrained from harsh confrontation. Yet Bolton’s first movement climaxes had more tension than Schiff. The concerto was book-ended by two overtures. Brahms’ Tragic Overture (track 1) shared the same key (D minor) and mood with the First Concerto. The unknown Cherubini Eliza Overture (track 5) was played on the same concert when the Brahms concerto received its first performance in Leipzig. A rather mediocre work, for reference only.