P1325. VAN CLIBURN, w.Solti Cond. RTF S.O.: Piano Concerto #1 in b-flat (Tschaikowsky), Live Performance, 4 May, 1962, Théâtre des Champs-Elysées; w.Ormandy Cond. Philadelphia Orch.: Piano Concerto #3 in d (Rachmaninov), Live Performance, 25 Sept., 1962, Philharmonic Hall, New York. [A minor caveat: despite its brilliance, the end of the Tschaikowsky Concerto’s 1st Mvt. ends abruptly, just before an anticipated outburst of applause] (Canada) St Laurent Studio YSL T-839. Transfers by Yves St Laurent.
"Van Cliburn, the American pianist whose first-place award at the 1958 International Tchaikovsky Competition in Moscow made him an overnight sensation and propelled him to a phenomenally successful and lucrative career, clinched the gold medal in the inaugural year of the Tchaikovsky competition. The feat, in Moscow, was viewed as an American triumph over the Soviet Union at the height of the cold war. He became a cultural celebrity of pop-star dimensions and brought overdue attention to the musical assets of his native land. When Mr. Cliburn returned to New York he received a ticker-tape parade in Lower Manhattan, the first musician to be so honored, cheered by 100,000 people lining Broadway.
Even before his Moscow victory the Juilliard-trained Mr. Cliburn was a notable up-and-coming pianist. He won the Leventritt Foundation award in 1954, which earned him debuts with five major orchestras, including the New York Philharmonic under Dimitri Mitropoulos. For that performance, at Carnegie Hall in November 1954, he performed the work that would become his signature piece, Tchaikovsky's First Piano Concerto, garnering enthusiastic reviews and a contract with Columbia Artists.
The impact of Mr. Cliburn's victory was enhanced by a series of vivid articles written for THE NEW YORK TIMES by Max Frankel, then a foreign correspondent based in Moscow and later an executive editor of the paper. The reports of Mr. Cliburn's progress - prevailing during the early rounds, making it to the finals and becoming the darling of the Russian people, who embraced him in the streets and flooded him with fan mail and flowers - created intense anticipation as he entered the finals.
Mr. Cliburn was a naturally gifted pianist whose enormous hands had an uncommonly wide span. He developed a commanding technique, cultivated an exceptionally warm tone and manifested deep musical sensitivity. At its best his playing had a surging Romantic fervor, but one leavened by an unsentimental restraint that seemed peculiarly American. The towering Russian pianist Sviatoslav Richter, a juror for the competition, described Mr. Cliburn as a genius - a word, he added, 'I do not use lightly about performers'.
A $1,000 grant from the Martha Baird Rockefeller 'Aid to Music' program made the journey to the Soviet Union possible. The contestants' Moscow expenses were paid by the Soviet government. The Russian people warmed to Mr. Cliburn from the preliminary rounds. There was something endearing about the contrast between his gawky boyishness and his complete absorption while performing. At the piano he bent far back from the keys, staring into space, his head tilted in a kind of pained ecstasy. During rapid-fire passages he would lean in close, almost scowling at his fingers. On the night of the final round, when Mr. Cliburn performed the Tchaikovsky First Concerto, a solo work by Dmitry Kabalevsky (written as a test piece for the competition) and the Rachmaninoff Third Concerto, the audience broke into chants of 'First prize! First prize!'. Emil Gilels, one of the judges, went backstage to embrace him. The jury agreed with the public, and Moscow celebrated. At a Kremlin reception, Mr. Cliburn was bearhugged by Khrushchev. His prize consisted of 25,000 rubles (about $2,500), though he was permitted to take only half of that out of the country. Immediately, concert offers for enormous fees engulfed him.
Mr. Cliburn leaves a lasting if not extensive discography. One recording in particular, his performance of the Rachmaninoff Third Concerto recorded live at Carnegie Hall on the night of his post-Tchaikovsky competition concert, was praised by Mr. Schonberg, the critic, for its technical strength, musical poise, and 'manly lyricism unmarred by eccentricity'. Mr. Schonberg then added, prophetically, 'No matter what Cliburn eventually goes on to do this will be one of the great spots of his career; and if for some reason he fails to fulfill his potentialities, he will always have this to look back upon'."
- Anthony Tommasini, THE NEW YORK TIMES, 27 Feb., 2013