Dear valued customer Thank you visiting our auction site. We dispatch items from Japan. We provide our services based on our motto "Your complete satisfaction is our ultimategoal". Therefore, please make your bid with ease.
Important notice  If you have a zero or negative rating, please contact us before making a bid. We guarantee all the displayed items are authentic, and there are no pirated or illegally copied items. Please feel reassured.

Description

ESOTERIC Brahms : Piano Concerto No.2 Backhaus New JP2



Analog Record
Brahms: Piano Concerto No. 2 Backhaus Brahms: Piano Concerto No. 2
A supreme Brahms performance by a super veteran who mastered music born in the LP era.
Genre: Concerto Wilhelm Backhaus (piano) Conductor: Karl Böhm Vienna Philharmonic Orchestra
Label: DECCA Specifications: Analog LP, 180g heavy vinyl Cardboard single A-style jacket Catalog Number: ESLD-10012
An immortal Brahms masterpiece is revived here as a refreshed LP. Backhaus + Böhm + Vienna Philharmonic: The crystallization of the tradition of 20th-century German music—eternal!
Wilhelm Backhaus, a leading master pianist of 20th-century Germany and a musician who embodied German spiritualism. Recorded in 1967 with the Vienna Philharmonic under the baton of the maestro Karl Böhm, this album has never disappeared from the catalog since its release, truly an evergreen masterpiece. This marks its first analog record release in Japan in approximately 32 years, since 1993.
Released November 15, 2025
Approximately 30 years after the initial recordings in the SP era, this supreme Brahms by a veteran who perfected the music born in the LP era is vividly revived as an LP record, ideally cut from a superb, high-fidelity master.
Backhaus + Böhm + Vienna Philharmonic: An eternal crystallization of the tradition of 20th-century German music!
Combined with the clear, dynamic, and three-dimensional sound achieved through Decca's superior recording technology, known for its "ffss" (full frequency stereo sound) logo, this LP sound, highly acclaimed in the analog era, is realized through Esoteric's meticulous analog remastering. This LP retains the dazzling, vibrant sound achieved through remastering, while also striving to reproduce the unique charm of analog recordings.
An immortal Brahms masterpiece is revived here as a refreshed LP. Even though half a century has passed since the recording, this is a one-of-a-kind performance that can be said to show the work's true essence.
Wilhelm Backhaus (1884-1969) was a leading German pianist of the 20th century, a musician who embodied German spiritualism. In his youth, he was a virtuoso who boasted dazzling technique and was called the "Lion King of the Keyboard," but as he aged, he shed his outward beauty and transformed into a performer whose style was characterized by a ruggedness that could be described as the epitome of masculinity. His performances, possessing unparalleled scale and sublime humanity, can be described as the essence of German music. In repertoire by Bach, Mozart, Haydn, Beethoven, and Brahms, he delivered performances of unparalleled mastery. Backhaus's 1967 recording of Brahms' Piano Concerto No. 2 with the Vienna Philharmonic under the direction of the great Karl Böhm (1894-1981) for Decca is a truly evergreen masterpiece, never having disappeared from the catalog since its release.
A definitive performance of Brahms, his third in his life. Backhaus studied under the great pianist d'Albert in his youth, receiving instruction in the traditions of German music (especially Beethoven interpretation). He was also active in recording from an early stage, beginning recordings as early as 1908 during the old recording era, and making considerable recordings for EMI during the electric recording era. Backhaus's worldwide fame was solidified by a series of recordings he made with Decca in 1948, coinciding with the advent of LP records. From his final recital in Ossiach, Austria, on June 28, 1969, until his death on July 5 at the age of 85, he recorded major repertoire, from Bach to Brahms, primarily in Geneva and Vienna, including two complete sets of Beethoven's piano sonatas and concertos. After World War II, he moved to Decca, where he continued to record his late-life artistry in mono and stereo, capturing Decca's signature clear and three-dimensional sound.
Brahms' Piano Concerto No. 2 was one of Backhaus's most favored concertos. He had previously made session recordings of it with Böhm/Staatskapelle Dresden in 1939 (SP era) and with Schuricht/Vienna Philharmonic in 1952 (monaural era), making the 1967 stereo recording with Böhm/Vienna Philharmonic his third recording.
Even now, more than half a century after the recording, it remains a beloved and highly regarded performance by many. This is the final recording featuring two maestro who carried on the tradition since the premiere of Brahms' masterpiece, making it truly worthy of being called a historically significant recording.
A collaboration with Böhm, who commanded an ideal orchestra. Backhaus was already 83 years old at the time of this recording, while conductor Böhm was 10 years younger. Backhaus made his debut at the Graz Opera House in 1917, served as music director of the Dresden Staatskapelle (State Opera) from 1934, and as music director of the Vienna State Opera from 1943-45 and 1954-56. Afterward, Böhm was active in Vienna and around the world, performing with major opera houses and orchestras including the Salzburg Festival, Bayreuth Festival, and the Metropolitan Opera. He frequently visited Japan with the Vienna Philharmonic until the year before his death in 1981, and was a beloved maestro with many fans.
This collaboration between the two was truly a superb combination. The performance unfolds in a way that embodies the ideal of this piece, in terms of resonance, tempo, and sense of breath.
Decca's frequently used recording location, the Sofiensaal in Vienna, holds the secret to the Decca sound of the analog era... Produced by Ray Minchal, who handled recordings of Britten and Kertész for Decca, the recording was done in collaboration with engineer Mike Miles. From 1956 to the 1980s, the Sofiensaal was Decca's home ground for stereo sessions in Vienna. Built as a bathhouse in the first half of the 19th century and later used as a ballroom, it was a stage where Johann Strauss frequently performed. This hall was ideal for Decca's recording policy of capturing and reproducing even the smallest details of sound with clarity, and it produced a series of legendary recordings that became synonymous with the Decca sound, including Solti's "The Ring of the Nibelung." This Brahms recording is one such example, featuring a beautiful, soulful solo piano (Bösendorfer) at its center. In the background, the silky yet rich string section, the fragrant, shimmering brass, and the distinctive sounds of the Viennese oboe and clarinet are all reproduced with remarkable clarity and three-dimensionality. Even nearly half a century after the recording, the vividness of its sound remains undiminished.
This release marks the first time this recording has been released on analog record in Japan since 1993, approximately 32 years ago. The original master has been newly mastered by Esoteric Mastering specifically for analog records. Using meticulously adjusted ESOTERIC's top-of-the-line equipment—Master Sound Discrete DAC, Master Sound Discrete Clock, and MEXCEL cables—the master was created with the utmost aim for high sound quality. Analog cutting was performed at Mixers Lab using the Neumann VMS80 cutting lathe, a legendary machine from the golden age of analog. This machine was manufactured in West Germany, and currently only two are in operation in Japan. With the cooperation of Mixers Labs, we brought the "Esoteric Mastering" equipment into the cutting room and directly connected the output to a Neumann SP79C cutting console. Without using the console's equalizer, the "Esoteric Mastering" sound was sent directly to the cutting process.
The cutting was performed by Katsutoshi Kitamura, a cutting engineer at Mixers Labs. His masterful skills were poured into the master disc. Currently, it's rare to cut lacquer discs solely for listening purposes, with only master disc cutting for record pressing being used. However, in pursuit of optimal sound quality, Esoteric created multiple lacquer discs while varying the transmission method to the console. These multiple lacquer discs were then taken back to the Esoteric Mastering Center, where they were auditioned and sound quality checked using an ESOTERIC Grandioso T1 analog turntable to determine the optimal transmission method.
We meticulously crafted this recording with a strong focus on analog sound, successfully capturing the information contained in the original master and translating it into an analog record with a rich, expansive sound.
"A treasure of humanity, shining brightly in the history of concerto discs." "This performance is like German music itself translated into sound, and it is a masterpiece that must be mentioned first when discussing this work. The master, over 80 years old, with the superb backing of Böhm and the Vienna Philharmonic, delivers a majestic piano performance with a solidly constructed sense of style. However, along with the austerity, there is something that speaks to the music itself. One is overwhelmed by the style that overflows from true maturity."
Katsuhide Hasegawa, "Record Geijutsu Special Issue: Classic Record Book VOL.3" "Concerto Edition," 1985
"The finished performance possesses a rich style, and every element is well under control down to the smallest detail. It is forceful, with careful consideration given to traditional elements, and there is nothing to be ashamed of. It has a presence that could truly be called the 'golden flagship recording' of this great concerto. In terms of the overall aspects, the performances of these two great masters, who were active mainly in the mid-20th century, have not lost their value even in the modern era of the new century." Yoshii Akihiko, "Ku "Classic's 1000 Immortal Masterpieces," 2007
"The Vienna Philharmonic, who physically know this piece; Böhm, who is thoroughly familiar with its structure; and Backhaus, who has mastered both—there is no gap between them, and they breathe together with seamless fluidity, achieving a golden trinity. It is the very essence of the rich flavor of 50-year-old brandy. Such a natural, mellow, and mature performance has become extremely rare these days."
Michifuyu Kitao, "Record Geijutsu Special Edition: Complete Collection of Masterpieces" Concerto Edition, 1998
"This is a treasure of humanity, a shining example in the history of concerto discs, with a perfect combination of pianist, conductor, and orchestra—all of the highest caliber. Here, neither the performer nor the composer's presence is felt; only the most spiritual music comes forth, overwhelming with profound emotion." Kouyoshi Uno, Record Geijutsu Special Issue: Performer-Specific Classical Record Book Vol. 2: Instrumentalists
"This is a magnificent performance that clearly reveals the mature stage of Backhaus's later years. The rich lyricism deeply touches the listener's heart, without any artificiality or pretentiousness. Perhaps it is the old maestro's elegy to Brahms." Kei Detani, Record Geijutsu Special Issue: 500 Masterpieces and Masterpieces "This is the best record!!"
"When it comes to grand and powerful performances, this is arguably the most representative. Both Backhaus and Böhm deliver performances that are completely unpretentious, but as it's a collaboration between two great masters, there's an undeniable sense of grandeur that permeates the music, and that's its charm." Hiroyuki Iwai, "300 Masterpieces and Masterpieces: This is the best record of the 20th century!"
Specifications
Track Listing Johannes Brahms (1833–1897) Piano Concerto No. 2 in B-flat Major, Op. 83
[Side A]
Movement 1: Allegro non troppo Movement 2: Allegro appassionato [Side B]
Movement 3: Andante – Più adagio Movement 4: Allegretto grazioso-Un poco più presto
Wilhelm Backhaus (piano) Emanuel Brabec (cello) Vienna Philharmonic Orchestra Conductor: Karl Böhm
[Recording] April 1967, Vienna, Sofiensaal [First LP Release] DECCA SXL-6322 (1967) [First Japanese LP Release] LONDON SLC-1638 (1967)
[Original Recording]
[Producer] Ray Minshall
[Recording Engineer] Mike Miles
[Remastering]
[Remaster] June 2025, Esoteric Mastering Center, "Esoteric Mastering" system
[Producer] Tomoki Omachi (Esoteric Mastering Center)
[Associate Producer] Minoru Yoshida (Esoteric Mastering Center)
[Remastering Engineer] Shinya Higashino (Esoteric Mastering Center)
[Analog Record Cutting] Katsutoshi Kitamura (Mixers Lab Co., Ltd.)
[Commentary] Kozo Asari
[Planning & Sales] TEAC Corporation
[Planning & Cooperation] Tokyo Denka Co., Ltd.

Payment

We accept ebay managed payment. 

Shipping

Shipping from Japan. I will ship by Japan Post.

Terms of Sale

I will ship within 10 business days after confirming payment. If you want to inquire about the product, please leave a message. If you receive a different item, I will accept the return. If the returned item is not in the same condition as it was shipped, I will not give a full refund.

International Buyers - Please Note:

Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying.