Rachmaninoff plays Rachmaninoff

Editorial Reviews
Amazon.com
Unlike most composer/pianists, Rachmaninoff's instrumental prowess was fully commensurate with his creative gifts. He embraces his youthful First Concertos as if he had encountered an old lover, consumating his passion with stupefying fingerwork in the first movement cadenza. Conversely, the composer seems bored in the Third. He laconically dispatches its torrents of notes, opts for the easier ossias in difficult passages, and makes cuts in the first and third movements. And pianists like Arturo Michelangeli and Earl Wild have recorded more incisive, demonic Rach Fourths. No question about the Paganini Rhapsody and Second Concerto, where Rachmaninoff's fierce authority and luscious, molten tone permeate every bar. RCA's transfers, however, could have been better. --Jed Distler

Tracks:

Concerto No.1, Op.1: Vivace
Concerto No.1, Op.1: Andante
Concerto No.1, Op.1: Allegro vivace
Concerto No.4, Op.40: Allegro vivace
Concerto No.4, Op.40: Largo
Concerto No.4, Op.40: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Intro: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Var I: (Precedente)
Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Var II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Var III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Var IV: Piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Var V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op. 43: Var VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Var VII: Meno mosso, a tempo moderato
Rhapsody On A Theme Of Paganini, Op. 43: Var VIII: Tempo I
Rhapsody On A Theme Of Paganini, Op. 43: Var IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Var X: Poco marcato
Rhapsody On A Theme Of Paganini, Op. 43: Var XI: Moderato
Rhapsody On A Theme Of Paganini, Op. 43: Var XII: Tempo di minuetto
Rhapsody On A Theme Of Paganini, Op. 43: Var XIII: Allegro
Rhapsody On A Theme Of Paganini, Op. 43: : Var XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Var XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op. 43: Var XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op. 43: Var XVII: [Allegretto]
Rhapsody On A Theme Of Paganini, Op. 43: Var XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op. 43: Var XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op. 43: Var XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Var XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Var XXII: Un poco piu vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op. 43: Var XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Var XXIV: A tempo un poco meno mosso

Tracks:

Concerto No. 2, Op. 18: Moderato; Allegro
Concerto No. 2, Op. 18: Adagio sostenuto
Concerto No. 2, Op. 18: Allegro scherzando
Concerto No. 3, Op. 30: Allegro ma non tanto
Concerto No. 3, Op. 30: Intermezzo: Adagio
Concerto No. 3, Op. 30: Finale: Alla breve

Amazon.com

Unlike most composer/pianists, Rachmaninoff's instrumental prowess was fully commensurate with his creative gifts. He embraces his youthful First Concertos as if he had encountered an old lover, consumating his passion with stupefying fingerwork in the first movement cadenza. Conversely, the composer seems bored in the Third. He laconically dispatches its torrents of notes, opts for the easier ossias in difficult passages, and makes cuts in the first and third movements. And pianists like Arturo Michelangeli and Earl Wild have recorded more incisive, demonic Rach Fourths. No question about the Paganini Rhapsody and Second Concerto, where Rachmaninoff's fierce authority and luscious, molten tone permeate every bar. RCA's transfers, however, could have been better. --Jed Distler

Customer Reviews:

A Wonderful Gift.......2007-07-07

I consider this a true gift in this age to hear the composer and pianist Sergei Rachmaninoff perform his own music as he intended. This CD is a marvelous opportunity for any one who is already a lover of Concertos 2 and 3, or the Variations on a Theme by Paganini. It is a simply a fine introduction to a truly great 20th Century composer.

jack@earthlink.com.......2007-06-27

This is Rachmaninov playing Rachmaninov - the master playing his own works. The audio quality is not what we might expect from modern recordings, but this is not a modern recording. If we ignore the hiss and concentrate on the artistry, we find a wonderful rendering of the Rachmaninov works. There is little opportunity these days to hear the masters play their own works, but this is an exception. Rachmaninov's piano music is extraordinary. If you enjoy classical piano music, this is a "must have".

Great Purchase.......2007-05-13

To hear such a master play his own work is priceless. I bought this for my 17 year old son who is a cellist and classical music fan. He plays it over and over. It is remastered, of course, but it is very high quality sound considering that it was not recorded on modern equipment, and does not sound crackly or difficult to listen to. If you are a fan of Rachmaninoff's work how can you resist getting this CD?

Remarkable album - poor sound quality.......2007-03-28

I agree with reviewers heaping superlatives about Rachmaninoff playing Rachmaninoff. It is truly a rare gem. However, buyers should be aware that the recording quality is marginal and tape hiss nearly unbearable. No blame here - it was probably the best technology of its day. If you are used to modern recordings of concert performances, you will need to set an equalizaton to moderate the high tape noise. A good DSP unit might be able to extricate the music from the noise. In any case, once acclimated to the sound quality, you will adore the underlying performance.

Rachmaninoff plays Rachmaninoff.......2007-02-08

These recordings were all originally issued on 78-rpm discs by RCA Victor. In all of the music, Rachmaninoff was the soloist with the Philadelphia Orchestra in sessions held in the historic Academy of Music, renowned for its acoustics until remodeling in the mid-1950s reportedly changed that (as Eugene Ormandy always complained).

Rachmaninoff and Leopold Stokowski began making an acoustical version of the second piano concerto in 1924, near the end of the acoustical era. Already the Bell Laboratories and Western Electric were perfecting the electric recording process that would be adopted the following year by both Victor and Columbia. For some reason, the acoustical recording was never finished; Victor later issued it (in 1973) in their boxed sets of the complete Rachmaninoff recordings, filling out the gaps with sides from the electrical recording that Rachmaninoff and Stokowski made a few years later.

The recording of the second concerto has always had been something of an enigma because it doesn't have the best sound of that era, when Victor used a single microphone placed either in front of the orchestra or over the conductor's head. For some reason, the recording is a little muddy or distant at times; nevertheless, one can clearly hear the brilliant playing of the composer, as well as the astonishing, very capable accompaniment by the Philadelphia Orchestra. It is clearly one of the best performances of the concerto ever recorded, even if one wishes it were a bit clearer. Perhaps further advances in digital restoration will someday improve the situation. Having heard both the original 78-rpm discs and the 1973 LP version and the first of the CD versions, it is clear that the sound is somewhat disappointing, while the performance is outstanding.

In 1934, soon after the world premiere in Philadelphia, Rachmaninoff and Stokowski again joined forces to record the "Rhapsody on a Theme by Paganini." It's clear from the original discs and the various reissues that RCA Victor had made tremendous strides in its recording techniques. This recording has much improved sound over the second concerto. The performance is astonishing and brilliant at times; Rachmaninoff clearly displays the virtuosity that so amazed listeners who heard him in person. He was clearly much of the vein of Chopin and Liszt, whose music he often performed and recorded.

In 1939-40, when Eugene Ormandy was gradually assuming responsibility for the Philadelphia Orchestra as Stokowski cut back his involvement, Rachmaninoff recorded the first, third, and fourth piano concertos. All of these performances benefited from even greater advances in recording; the quality was generally exceptional, too. Yes, some have said that Vladimir Horowitz's 1930 recording of the third concerto was better (and was even admired by the composer), but there is still something to be said for hearing Rachmaninoff play his own music.

Rachmaninoff in the 1930s and early 1940s was often criticized for being old-fashioned, while older listeners said he was becoming too modern. With the passage of time, we can appreciate his music for its genius and beauty. In these recordings we have a clear glimpse of one of the last great Romantic composers and pianists.

Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

Average customer rating:

Buy it ! (for the concerto)
The majesty of Horowitz
Exultant pianism; Faustian inspiration!
It's Horowitz. It's the best.
Absolutely sick!

Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003ER1
Release Date: 1989-08-10

Tracks:

Sonata No. 2, Op. 36 In B Flat Minor: Allegro agitato
Sonata No. 2, Op. 36 In B Flat Minor: Non allegro; lento
Sonata No. 2, Op. 36 In B Flat Minor: L'istesso tempo; Allegro molto
Moment musicale, Op. 16, No. 2 In E Flat Minor
Prelude, Op. 32, No. 5 In G
Polka V.R.
Concerto No. 3, Op.30 In D Minor: Allegro ma non tanto
Concerto No. 3, Op.30 In D Minor: Intermezzo: Adagio
Concerto No. 3, Op.30 In D Minor: Finale: Alla breve

Amazon.com

Yes, Virginia, Rach 3 existed before David Helfgott and Shine. Vladimir Horowitz made a recording in 1951 that continues to be the delight and despair of every pianist, notwithstanding standard cuts and minor, nerve-induced inaccuracies. The 1980 Second Sonata is looser but no less intense than Horowitz's storied 1968 CBS version, while the short pieces ooze with sex: even the Polka! --Jed Distler

Customer Reviews:

Buy it ! (for the concerto).......2006-02-01

The performance that Horowitz gives us in this '50s recording of the Rach 3 is a testament to outstanding human artistic endeavor. As Rachmaninoff said, "...he (Horowitz) swallowed it whole." Along with his pianistic pyrotechnics, Horowitz demonstrates wonderful architectural overview, inevitability, and stylistic authenticity. Truly, a recording of this concerto sui generis that should be in the libraries of all who love the piano!
The other pieces on this CD, recorded for RCA ca. the late '70s,
have an unpleasant piano sound. Franz Mohr, piano tuner for
Horowitz/Steinway during this period, discusses this issue in his
book, "My Life with the Great Pianists." Superb recordings of
these pieces are available: Piano Sonata No. 2, recording
Horowitz made for Columbia Records in the late '60s; Prelude in
G, Op. 32, Horowitz in Moscow, 1986; and Moment Musical in E flat
minor and Polka de V. R., Sergei Rachmaninoff, Great Pianists of
the 20th Century, Philips/Polygram (compiled in 1998).

The majesty of Horowitz.......2006-01-15

Musicians are reluctant to give rankings. We want to separate the classical music world from the hyped world of MTV top tens and USnews school rankings. Since this is the case why are so many pianists assert and reiterate the glory of Horowitz among 20th century pianists. After all if we are going to deviate from our tendency not to rank we should at least substantiate why Horowitz is so special.
If one dwells on it for a second the physical act of playing the piano boils down to brain finger coordination. The brain sends a message to the finger what to do next - where to move, how soft to touch the key, etc. It is extremely hard to reach a very high level of coordination. For example, if someone had 100 percent brain hand coordination in basketball they would never miss a shot.
Horowitz brain-finger coordination is just phenomenal (there are many examples of this and a classic one in my opinion is his playing of Etincelles). Imagine telling a pianist to play a 20 minute piece ONLY in pianissimo but still continaing crescendos and decrescendos within the pianissimo. For 99.9 percent of pianists, and even the great ones, this would be impossible. At some stage during this hypothetical piece they will accidentally stray into mezzo forte (or some other level). TO BE ABLE to play with such softness for a prolonged period of time is unbelievably hard because you need complete control of the fingerwork.

Critics often miss the mark when talking about Horowitz. They look at isolated concerts or recordings during his very long career that are flawed ( and admittedly Horowitz did have ups and downs). The crux of the pianist's talent lies in what he could do at the piano when he reaches the summit of his ability. If one looks at Horowitz' output within a larger context things look different.

Let me conclude with comments of the famous pianist, William Kappell:
"I'm so weak from tears and shouting, that I can hardly write.... I just heard Horowitz here in Pasadena, playing the 3rd Concerto of Rachmaninoff. The man is such a genius of the piano that it seems inhuman to play like that.... He is not a pianist, he is a magician."
Eloquent and Succinct.

Exultant pianism; Faustian inspiration!.......2005-10-22

The monumental Sonata No. 2 is possibly the most complete work of this genre emerged from Russia until this date. It possesses that effluvium and nostalgic gaze,contemplative lyricism and arresting expression that invades the listener from the first bars. Involved in the classical Romantic heritage, with a strong Lisztian influence and the majestic and elusive introspection so typical of Robert Schumann.

The celebrated Non allegro: Lento expresses this sad melodic flight where the meditation and farewell sense seems to shake hands. What it seduces me from this version is its maidenly approach; Horowitz understands the core of the work as anyone else, given this similar condition of exiled Soviet citizen and explores with acuteness and refined eloquence the inner folds, those enigmatic pianissimos and sudden outbursts of fevered poetry make of this performance the most genuine and best achieved versions that I have ever listened never before.

The Third Piano Concerto despite the fact is not my first choice is incandescent and superbly phrased. In addition we have Reiner making a sharp collaboration and showing the Russian mood underlined beneath the score. Horowitz unexplainable does not play the Diabolic Cadenza and that 's probably one the disillusioned aspects that I dislike; this Cadenza is a true firewall that stigmatizes and accents still more the febrile passion and enraptured flame of this monumental score.

In this sense no other pianist in the history has been able to reach the level of the unsurpassed, resplendent and delirious performance that William Kapell did it in 1952 in a live Concert pitifully non available in CD, due it was a live register, that I could get it thanks to a friend of mine who got a copy in Washington of a hard fan of William in 1988. Since I listened this version, became automatically in the parameter per excellence at the moment to compare some other recording.

It's Horowitz. It's the best........2005-08-25

The CD starts with the Sonata Number 2, which Rachmaninoff composed, then shortened in his later years. Horowitz came to Rachmaninoff saying that he had cut too much. Rachmaninoff agreed and had Horowitz himself add back in what he thought was appropriate. Rachmaninoff approved the changes and that became the official version. Horowitz apparently made a few more changes since the composer's death which he feels Rachmaninoff would have approved. This is the final version that appears in this recording.

There are then a few smaller but still delightful pieces. One of the Musical Moments that Rachmaninoff was apparently particularly proud of. It is done in the Horowitz style, but the piece is dissonant and swirling, even for Rachmaninoff, creating a nice contrast. It's delightful to hear Horowitz's interpretation with his melodic and bell-like tone.

The prelude is peaceful and more complementary (rather than contrasting) to Horowitz's style. Melodic, relaxed, and dreamy.

The Polka is actually based on something Rachmaninoff's father used to play. A folk melody arranged in the virtuoso Rachmaninoff style. Fascinating.

Finally we come to the Third Rachmaninoff Piano Concerto. The Rach 3 as it is known. Respected and feared by pianists the world over. It won Olga Kern the International Cliburn Competition. There are apparently a few mistakes in the piece due to nerves, but I can only hear two spots where they MIGHT be. Horowitz's interpretation emphasizes speed and lightness rather than size and weight (which Ashkenazy tends to emphasize). Horowitz plays the "light and quicksilver" cadenza rather than the heavier chordal one which is more "typical" of Rachmaninoff. I would like to hear Horowitz play the other cadenza, as well. Sometimes when Ashkenazy or other pianists play this piece, you can hear when they are no longer considering interpretation or artistry. They are merely trying to survive the piece intact. Horowitz never struggles with the piece, even though it is the hardest in the repertoire, he is always thinking, feeling, and interpreting the piece. I'm often gasping for breath, but Horowitz is always effortlessly skimming along. A marvelous playing of my favorite Rachmaninoff and my favorite piece. This is marvelous, but it is fascinating to hear other interpretations of this piece. For a more purposeful (but equally speedy) interpretation, I recommend Byron Janis. For a more ponderous weighty interpretation, I recommend Ashkenazy. Olga Kern also does well playing this piece in the Cliburn DVD. It's amazing to see it played.

Absolutely sick!.......2005-08-24

The single greatest recording by the greatest classical pianist of the modern era.

Average customer rating:

AMAZING
An interesting release
Deep and Penetrating
I really wish DDD existed back then

Rachmaninoff Plays Chopin

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

ASIN: B000003FOO
Release Date: 1994-08-16

Tracks:

Sonata No. 2 In B-Flat Minor, Op. 35, 'Funeral March': Grave; Doppio movimento
Sonata No. 2 In B-Flat Minor, Op. 35, 'Funeral March': Scherzo
Sonata No. 2 In B-Flat Minor, Op. 35, 'Funeral March': Marche funebre
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Nocturne In E-Flat, Op. 9, No. 2
Waltz In C-Sharp Minor, Op. 64, No. 2
Waltz In A-Flat, Op. 64, No. 3
Ballade In A-Flat, No. 3, Op. 47
Mazurka In A Minor, Op. 68, No. 2
Waltz In E Minor, Op. Posth.
Mazurka In C-Sharp Minor, Op. 63, No. 3
Nocturne In F-Sharp, Op. 15, No. 2
Waltz In E-Flat, Op. 18 'Grande valse brillante'
Waltz In F, Op. 34, No. 3 'Valse brillante'
Waltz In D-Flat, Op. 64, No. 1 'Minute'
Waltz In B Minor, Op. 69, No 2
Waltz In G-Flat, Op. 70, No. 1
Scherzo In C-Sharp Minor, No. 3, Op. 39
Waltz In D-Flat, Op. 64, No. 1 'Minute'
Waltz In A-Flat, Op. 42, 'Two-Four'
Waltz In A-Flat, Op. 64, No. 3

Customer Reviews:

AMAZING.......2006-01-07

Rachmaninoff's performance of the Chopin B flat sonata is Monumental, and the greatest performance that exists.

Lawrence

An interesting release.......2005-07-29

I suspect part of the fascination in Rachmaninov's playing is due to his being part of that increasingly rare and illustrious breed: the pianist-composer. The Funeral March sonata on this disc is perhaps the most famous of all. Noble as it is, I wouldn't proclaim it the account to end all others. The trademarks of this musician's pianism are apparent: clarity, poise, faultless execution. As another reviewer noted, the artist takes liberties with some scores but always in a tasteful manner. The nocturnes and waltzes are not without a certain charm, but Rachmaninov was never one to wear his heart on his sleeve.

Deep and Penetrating.......2003-02-16

This transfer of Rachmaninoff, while far from perfect, is much more than acceptable. It is much better than what we have from Piano Library which contains 99% of the same thing. Rachmaninoff's understanding of music is deep and penetrating: being a composer himself, he understood the structure of the pieces so well.

Here each piece has it's own life and identity each with a focal point. It is water tight compact and yet very much natural and alive. But it is not natural in Arrau's way, still less as oppressive as Horowitz or Richter. It is somewhere in between, closer to Argerich but with more consistency and depth. And like Casals' playing, it keeps our attention from the first note up to its focal point until its very end. But unlike Casals, he touches our hearts. It is very emotional but never to the point of being sentimental. His Chopin may not be as neurotic as Cortot. Nonetheless, he sheds light on the dark and nervous side of Chopin so well: a very throbbing interpretation that is so unique.

Sure, he did have fingers of steel that helped him to bring out whatever colour or atmostphere as appropriate. And despite that fact that there are some minor alterations on the scores like his Chopin, he is one of the few pianists who could really show you every note on the score counts and, above all, how it counts...

So, come and listen to the pianist with "arms of steel and heart of Gold" in action. It's hard to imagine how a listener fails to be touched by his playing.

I really wish DDD existed back then.......2000-06-19

A good album but the transfer is terrible. It sounds like this CD was recorded with a mono microphone held at the speaker of an old phonograph. The amount of noise is so great that sometimes it is really hard to hear the soft parts over it.

Average customer rating:

R plays R
Ill informed much?
Great playing - poor quality
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Bad recording, but still a good buy

Rachmaninoff Plays Rachmaninoff

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ASIN: B000001VHX
Release Date: 1993-11-30

Tracks:

Prelude In C Sharp Minor , Op.3, No.2
Melodie, Op.3, No.3
Polichinelle In F Sharp Minor, Op.3, No.4
Polka De V.R.
Barcarolle In G Minor, Op.10, No.3
Prelude In G Minor, Op.23, No.5
Non Allegro
Andante Con Moto (Tempo Di Valse)
Lento Assai (Allegro Vivace)

Customer Reviews:

R plays R.......2006-02-25

ok for the money but didn't have his good stuff on it.

Ill informed much?.......2005-10-12

I wouldn't usually submit a review with the express purpose of criticising someone else's view, because quite frankly, we all are allowed to form our own views and opinions..

But I feel the need to defend this recording from the very merciless and insulting review submitted earlier regarding the 'amateur pianist' on this cd having just learnt the correct notes to press but unfortunately not in the correct time..

Anyone who knows anything about Rachmaninoff should already know this..Rachmaninoff was VERY well known for having a flaire for improvising in his own pieces, and being that he is the very own composer of these pieces he is very well justified in doing so.

Case in point..Melodie in E. Sure..the triplet rhythm seems to have been completely destroyed, by the standards set by the score anyway. But sit back and listen closely and you'll notice that while Rachmaninoff has transcended the score and is turning the piece into what it should be, a fantasie, a piece of impromptu nature that should be allowed to fly with one's fancy and one's imaginations. The Barcarolle and the Prelude? Same thing. This is no "amateur pianist" pounding away without rhythm. Or if indeed this is an amateur pianist than nobody on the face of earth with the exception of Liszt himself should be allowed to qualify themselves as a pianist.

If one would care, one can examine the Memorex recordings made by Rachmaninoff issued by Decca, where the sound quality is lovingly brought back to life. But one observes, that he plays the Fantasie pieces in the very same manner, in a totally care-free and improvisational nature.

Obviously these pieces meant a lot to Rachmaninoff himself as he took the effort to record them on memorex. And obviously this manner of interpreting them is something that flows within his very nature for him to have done this MORE than ONCE.

Do not buy this record if you're looking for a stoic reading of Rachmaninoff. IN fact, do not buy ANY record of rachmaninoff playing ANYTHING if you want a stoic reading of them. Buy this record for the very sole purpose that justifies such a purchase. Buy this to listen to Rachmaninoff, the master himself.

And I highly recommend the memorex record by Decca too, if these pieces (the fantasies) have grabbed your attention. They contain the same interpretation, but with the quality and dynamics lifted to, while not what rachmaninoff would have expected or wanted, certainly surpasses any insight we have to his playing.

Great playing - poor quality.......2003-10-14

When one becomes used to crystal clear recordings in which one can detect individual notes, this recording is something of a disappointment. True, it is (allegedly) the great one himself but the outside noises are a real distraction.

I would have loved to have heard the Rock in person (as my father did) and this is supposed to be the next best thing. The bravura, the awesome technique, the lush romanticism are all present or hinted at but sound transferrance techniques can go only so far.

Ripples of Greatness.......2001-09-25

Wouldn't you love to hear Bach play his Toccatta and Fugue in Dm? Well, we can't. But we can hear the late, great Sergey Rachmaninov struttin' his stuff, playing his famous Prelude in C#m, Op. 3 No. 2. Yeah, it's taken from an old tape, but it's clear enough to be amazing. I, for one, was a little suprised to hear dynamics in his interpretation that one doesn't often hear in the performance of that piece. An historic recording certainly worth having in your audio library.

Bad recording, but still a good buy.......2000-11-23

Some of us don't have money enough for the complete works of Rachmaninoff... Granted, if you've heard the other recordings of these songs, you'll be rather confused. But Rachmaninoff is Rachmaninoff. If you're a casual listener, buy this cd. If you've never heard Rachmaninoff before, buy this cd. It's hard to go wrong for 4 dollars. If you're broke, and need a Rach fix, this is the cd for you.

Average customer rating:

Rachmaninov of majestic poise, technique
Making sense of the second

Simon Trpceski Plays Rachmaninoff

Manufacturer: EMI Classics
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Binding: Audio CD

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Tracks:

Prelude Op.23 No.2 In B Flat Major
'Siren' Op.21 No.5
Prelude Op.23 No.1 In F Sharp Minor
Prelude Op.23 No.10 In G Flat Major
Prelude Op.32 No.12 In G Sharp Minor
Lullaby
Prelude Op.32 No.2 In B Flat Minor
'Margaritki' Op.38 No.3
The Flight Of The Bumblebee
Prelude Op.23 No.5 In G Minor
Prelude Op.23 No.4 In D Major
Scherzo
Prelude Op.3 No.2 In C Sharp Minor
I. Allegro Agitato
II. Non Allegro
III. Allegro Molto-Poco Meno Mosso-Presto

Amazon.com

This is only Simon Trpceski's second recording, but it sounds like the work of a far more experienced pianist. Although the opening Prelude (Op. 23, No. 2) starts things off with quite a bang, the pianist is quite up to the challenge. He then goes on to offer a very well-planned recital, alternating familiar and unfamiliar items and offering a wide variety of moods. The producer has even varied the amount of time between tracks, adding to the impression that we are listening to a real recital. Best of all, Trpceski proves to be a gifted Rachmaninov player. He offers tonal variety in his playing which is sometimes even reminiscent of Richter--the highest praise this reviewer has to offer. And in the bombastic Second Sonata, Trpceski plays with such conviction and resource that he has convinced at least one previously-skeptical listener that this piece is actually worth hearing. Even if your collection is already well supplied with Rachmaninov piano music, this disc is still worth a try. --Leslie Gerber

Customer Reviews:

Rachmaninov of majestic poise, technique.......2005-04-07

The name Simon Trpceski, until I heard this disc, was but a name in passing this past year or so, among those of so many pianists, but no longer. This all-Rachmaninov program includes the 1931 revised edition of the Sonata No. 2, eight etudes (the famous C-Sharp Minor from the five pieces of Opus 3, five from Opus 23, two from Opus 32), and five transcriptions. Transcriptions for two of the composer's most familiar songs (Daisies or "Marguerites", 'Margaratki' if you will, and Lilacs or 'Siren'' from his Opus 38) are here and also the composer's last transcription - of a cradle song written by a young Tchaikovsky, possibly for the wife of Rimsky-Korsakov.

The first track on this disc sets things immediately ablaze with the celebrated B-Flat Major Prelude from Opus 23, as several writers have noted already. What got me were the cascades of octaves and thirds at pianissimo, seamlessly from what had preceded it and the same way with the rapid filigree that spins off from everything toward the end. Lilacs (from the composer's Opus 21 collection of twelve songs) is turned into a shimmering Debussy-esque landscape of colours and half-tones, without losing any sense of line. Ironically, Daisies, with tune similar in character to that found in Sadko, Trpceski delivers with the greater melodiousness and with also a wild flourish (marked mezzo forte) at the end - whereas Ashkenazy, to opposite ends, opts for understatement. The composer's last set of songs from which Daisies come are settings of prominent Russian Symbolist poets of the period to music.

In the two preludes that follow Siren', Trpceski engages us in controversially slow takes on each, and each featuring quite steeply terraced climaxes for both - especially on a more than usually despairing F-sharp Minor that opens Opus 23 (less defiant, as especially with the deleted Kocsis on Philips, than usual) and also for the gentle, Chopinesque G-Flat from Opus 32, the Orientalesque episode (again) toward the end of which wafts an abundance of fragrance here. I despair, however, for not being able to report that any risk-taking, such as cited above, makes for any vulgar playing in the least from this pianist.

Trpceski is equally unabashed at taking on the climax of the celebrated D Major cavatina from Opus 23, though stopping well short of making Mario Lanza out of it, by the end of page 1, as with Van Cliburn. Add on the slow-tempo list the famous G Minor, during which Trpceski makes something truly haunting and spectral for the retransition to the reprise of the A section, and emotionally firm, reticent about his way of it the entire way. Somewhat lachrymose is the opening of the B-Flat Minor Prelude (strategically followed here by 'Margaratki') but midway challenges Kocsis (again) in bringing the daemonic element in it to the forefront as well. Flight of the Bumblebee spins off very deftly as it should, yet Gramophone is not alone in having found the Mendelssohn Scherzo from MND a bit heavy-handed. The transcription of the Tchaikovsky romance is played with gentle pathos, and just as weightlessly as so much before, breaks into the beautiful filigree that Rachmaninov has composed for a coda to it. The G-sharp Minor Prelude is brilliantly, coloristically dispatched at moderate tempo and without any showiness, a la Horowitz or Cliburn.

The B-Flat Minor Sonata ends this disc in the same tonality as and much the same way as it had begun. Perish the thought that is for any lack of technique that Trpceski chooses the revised version (the more frequently played at competitions), over the original. This now could indeed be called its definitive interpretation on disc. The illusion that Trpceski builds of this music not having been truncated (or of perhaps being the original or a bowderlization instead) may seem a bit recidivist. He finds such fullness of expression, that it had to have been for the greater simplicity that Trpceski chose it - and he follows it entirely. It could perhaps serve as a referendum for those who hear a growing chill or fragmentation with late Rachmaninov a little more than perhaps did the composer himself.

The unassuming display of bravura, the cliff dropping cascades of octave and thirds for the segue into the Recapitulation, played in such a way to hear them all as the simple legato harmonic progression they are is again almost terrifying, and without grandstanding by way of jumping over to the original version of the last four measures up to the Recapit, as at least almost all the bowdlerizations on disc give you, including the newest one on DGG. Similar happens with so much of the development section of the finale, and during which Rachmaninov rewrote some accenting (from what it is in the Original Version). Trpceski's poise and tastes are at such a high level, that rest assured, he would not have missed the right accenting (and which most notably Kocsis at least almost alone entirely gets), had he picked the original, and for which Horowitz both times uses the original notation.

The slow movement is played with great tenderness, the right sense of being completely at rest, and beautiful tone, as are the Meno mosso sections of the two outer movements. A possible encore for this program could have been perhaps the G Major Prelude from Opus 32, a piece I was introduced to by the wonderful EMI recording by a young Geza Anda, playing of which Trpceski might remind a few listeners. There is nevertheless a full 69 minutes of playing time here - no reason at all for complaint. Richter or the composer may be the last word on simplicity for a few of the preludes here. This is, however, playing not to be missed.

Making sense of the second.......2005-02-15

Down through the years I've heard many recordings and performances of Rachmaninov's second piano sonata; however, due to (I'm sure) something lacking within me, I've never been able to appreciate the work. This recording with Simon Trpceski "turned the light on" for me, and for once I actually liked the work and was emotionally moved by it. His technique is astounding and , to me for the first time, it did not sound as if the pianist was pounding the piano with his fists-the work's beautiful melodies were revealed to me for the first time.
The shorter works on the recording are also played very well, but the second sonata, for me is the standout.
The sound and musical programming are also outstanding!

Hélène Grimaud plays Rachmaninoff, Chopin, Liszt, Schumann, Brahms, Ravel (Box Set)

Average customer rating:

An Admirable, Distinguished Collection Of Helene Grimaud's Earliest Recordings
Not just exceptional piano playing for a teen-ager - exceptional piano playing, period.
Gorgeous Music - Great Value

Hélène Grimaud plays Rachmaninoff, Chopin, Liszt, Schumann, Brahms, Ravel (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

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Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

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ASIN: B0000D1FCP
Release Date: 2003-09-30

Customer Reviews:

An Admirable, Distinguished Collection Of Helene Grimaud's Earliest Recordings.......2007-05-25

This is truly a magnificient box set which demonstrates the early artistry of one of our finest contemporary pianists, the celebrated French pianist Helene Grimaud. It's an amazing collection not only because it was recorded when Grimaud was in her teens and early twenties when she was contracted to Denon, but more importantly, it demonstrates just how accomplished a musician she was at the start of a brilliant career. Her excellent playing of these works, especially of the Schumann and Brahms pieces, can hold their own against legendary competition from the likes of Claudio Arrau, Alfred Brendel and Murray Perahia, to name but a few of the most noteworthy interpreters - past and present - of these scores. However, I think the real gems are her spellbinding, exquisite performances of the Rachmaninov piano concerto and solo pieces, which I find as admirable as those I've heard from Vladimir Ashkenazy and Zoltan Kocsis, to name but a few. Those unfamiliar with the earliest phase of Helene Grimaud's distinguished career as a celebrated solo pianist will find this box set most rewarding.

Not just exceptional piano playing for a teen-ager - exceptional piano playing, period........2006-12-03

Brilliant Classics, a cheapo-cheapo label based in the Netherlands, has licensed from Denon the five recordings which launched Helene Grimaud's career, and marketed them at a price which makes them a steal. Miss Grimaud was 15 when she recorded the first of these five, the Rachmaninoff collection, in 1985, comprising his second piano sonata (in Horowitz' abridged edition) and a selection of Etude-Tableaux, plus two Preludes. She went on with Schumann (1st piano sonata in 1987, Kreisleriana in '88), Chopin (1st Ballade) and Liszt (Dante Sonata - both in '87), Brahms (second piano sonata in '88 followed by third piano sonata and Klavierstücke opus 118 in '91), and it was all topped-off, in 1992, by the concerto recordings: Ravel's G major and Rachmaninoff's 2nd, with the Royal Philharmonic Orchestra conducted bu Jesus Lopez-Cobos. She then moved own to Erato, and now DG - and that was it for Denon.

So these discs span the 7 first years of her recording career, and it is not easy stuff that she tackled either. These are among the most daunting compositions of the piano repertoire, not only technically but also musically.

It would be unfair to Miss Grimaud to say that these are astounding recordings for a 15-to-22 year-old girl. These are astounding recordings, period. Throughout she displays unflinching muscularity, gripping rhythmic bite, magnificent control of the long line and the succession of variegated moods, from drama to lyricism, and admirable attention to the inside voicing and complexities of contrapuntal writing. All these recordings are not just fine visiting cards for a fledgling pianist - they are equal to the best. Brilliant as reissued the Denon discs as they were originally, short timings and all - the Rachmaninoff is 44 minutes long and the longest of the five is under the hour - but given the price and the excellence of piano playing it is still a bargain.

Miss Grimaud is now in the public's eye almost more for her infatuation with wolves than for her pianistic skills - and the Brilliant release surfs on the wave, albeit with some discretion, by the choice of its cover art. But judging from these recordings, one suspects that this kind of claptrap is almost detrimental to her cause. The wolf hype would easily lead you to think that some wise-axxed PR was trying to make up by that tacky attention-catcher for what her mere pianism was unable to achieve. Not so. Miss Grimaud's pianistic and musical gifts can amply stand on their own. Let the wolves howl, and hats off to the pianist.

Gorgeous Music - Great Value.......2004-07-31

This box set consists of 5 CDs of Helene Grimaud's beautiful piano playing. These CDs were originally released by Denon which has a great reputation for audio quality. Grimaud plays Rachmaninoff (Piano Concerto 2, Piano Sonata No.2 and others), Ravel (Piano Concerto in G major), Chopin (Ballade No. 1), Schumann (Piano Sonata No. 1 and Kreilserana), Liszt (Apres une lecture de Dante), Brahms (Piano Sonata Nos. 2 and 3 and Klavierstucke Op. 118).

A lot of great music beautifully played and recorded without breaking the bank.

Highly recommended.

Average customer rating:

Best Rachmaninoff
If only he recorded the entire set....
Technically Brilliant but needing some poetry
strange drops in recording levels

Sviatoslav Richter Plays Rachmaninoff

Manufacturer: Regis Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000AKMYK
Release Date: 2003-07-09

Tracks:

No.9 in C sharp minor - Grave
No.5 in D minor - Moderato
No.6 in E flat minor - Non allergo
No.1 in C Minor - Allegro molto
No.2 in A minor - Lento assai
No.3 in F Sharp minor - Allegro molto
No.4 in B minor - Allegro assai
No.9 in D major - Allegro moderato, tempo di marcia
No.7 in C minor - Lento
No.1 in F sharp minor - Largo
No.2 in B flat major - Maestoso
No.4 in D major - Andante cantabile
No.5 in G minor - Alla marcia
No.7 in C minor - Allegro
No.8 in A flat major - Allegro vivace
No.1 in C major - Allegro vivace
No.2 in B flat minor - Allegretto
No.6 in F minor - Allegro appassionato
No.7 in F minor - Moderato
No.9 in A major - Allegro moderato
No.10 in D minor - Lento
No.12 in G sharp minor - Allegro

Customer Reviews:

Best Rachmaninoff.......2007-06-20

Richter's Rachmaninoff is awesome, in my opinion the best out there. I have listened to Ashkenazy (lame), Shelley (very good), Kocsis (VERY lame), Rachmaninoff (obligatory), Volodos (very good) and Gavrilov (worth it). Also some Horowitz and others. I don't think any of these people come close to Richter in his feeling for this music or the technical perfection of his performances. Sound quality is not too good (maybe you should try the Rediscovered disc by RCA which brings only 4 Preludes), but if I had to choose one single Rachmaninoff recording... it would be Richter's.

If only he recorded the entire set...........2005-10-19

This is a fantastic set of Etudes and Preludes at a budget price and should not be passed upon. There are also live recordings out there of these pieces that some may prefer over these studio recordings, but it's a matter of personal preference.
I disagree with the previous reviewer about the lack of poetry in these recordings....Richter's Rachmaninov is in a class of its own and I find plenty of poetry on this CD, albeit in Richter's own personal way. It is a different kind of poetry than what you would expect to hear from most pianist's who play Rachmaninov, even Rachmaninov's own playing! Compare this recording of the G minor prelude with Rachmaninov's and you will get two entirely different interpretations, both of which are extraordinary. Richter's poetry does not adhere to the swaying-of-rhythms approach used by most pianists towards Rachmaninov. He does not fuss around with the rhythms or try to make passages sound 'clever' by rushing and slowing down passages. You'll get a no-nonsense approach to the music with a clear vision of structure and balance, and phrasing that is out of this world. This approach may not appeal to some Rachmaninov enthusiasts, but I implore you to listen to the d minor etude op. 33 no. 5. It is my favorite on the CD and has become an interpretation that I judge all others by.

Technically Brilliant but needing some poetry.......2005-01-14

Rachmaninoff was the last of the great Romantics, simultaneously a virtuoso, teacher and composer. His forte was the piano for which he was supreme. The technically challenging Etude-Tableaux are a last magnificent gasp before the oeuvre "evolved" into music that no one pays attention to. The few unfortunate who can withstand the onslaught of this music must first endure a ten minute lecture "explaining" the piece. Rachmaninoff was from a different era.

Richter is a link to this era. He was a profound, intellectual musicologist with deep Russian roots. These works are crisp, sincere and faithful interpretations. Even the "clangyness" of the recording cannot hide the technical prowess and brilliance of the pianist. What's missing is poetry; despite the passage of time, no one does a better job at solo Rachmaninoff than Van Cliburn (in his prime, of course). I compared three pieces by the two artist (two on this CD) - The C Minor, F Minor and E flat Minor - and found a "story" within the Cliburns, told with an exquisite clarity even in the densest of sections. Also, particularly in the E flat Minor Etude, one notes the rhythmic phrasing was simply spectacular whereas it was not as pronounced in Richter's rendition. Still, a quality recording form a quality individual.

strange drops in recording levels.......2004-12-15

A slight word of caution:The recording engineers were up to some trickery in many of these tracks with sudden drops in the recording level,most striking at the end of the famous G minor prelude.Playing of this magnitude hardly needs such assistance!
However,this is a great album.
For a complete set of Preludes,Alexis Weissenberg on RCA is a strong recommendation in one of his finest recordings.

Leon Fleisher Plays Copland, Liszt, Mozart, Rachmaninoff, Ravel

Average customer rating:

amazing pianist, lovely record

Leon Fleisher Plays Copland, Liszt, Mozart, Rachmaninoff, Ravel

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000HY8D
Release Date: 1999-01-12

Tracks:

Piano Sonata In C, KV.330: Allegro moderato
Piano Sonata In C, KV.330: Andante cantabile
Piano Sonata In C, KV.330: Allegretto
Piano Sonata In B Minor: Lento assai - Allegro energico - Grandioso - Racitativo
Piano Sonata In B Minor: Andante sostenuto -
Piano Sonata In B Minor: Allegro energico - Andante sostenuto - Lento assai
3 Barcarolles: No.1
3 Barcarolles: No.2
3 Barcarolles: No.3
Sonata: Molto moderato
Sonata: Vivace
Sonata: Andante sostenuto

Tracks:

Piano Sonata No.4 In E Minor, Op.70: Moderato
Piano Sonata No.4 In E Minor, Op.70: Menuetto. Presto vivace ed engerico - Trio
Piano Sonata No.4 In E Minor, Op.70: Andante. Quasi allegretto
Piano Sonata No.4 In E Minor, Op.70: Finale. Prestissimo
Sonatine: Modere
Sonatine: Mouvement de menuet
Sonatine: Anime
Miroirs: Alborada del gracioso No.4
Piano Concerto In D 'For The Left Hand': Lento
Piano Concerto In D 'For The Left Hand': Allegro - Tempo I
Rhapsody On A Theme By Paganini, Op.43: Introduction And Variation I
Rhapsody On A Theme By Paganini, Op.43: Variation II
Rhapsody On A Theme By Paganini, Op.43: Variation III
Rhapsody On A Theme By Paganini, Op.43: Variation IV
Rhapsody On A Theme By Paganini, Op.43: Variation V
Rhapsody On A Theme By Paganini, Op.43: Variation VI
Rhapsody On A Theme By Paganini, Op.43: Variation VII
Rhapsody On A Theme By Paganini, Op.43: Variation VIII
Rhapsody On A Theme By Paganini, Op.43: Variation IX
Rhapsody On A Theme By Paganini, Op.43: Variation X
Rhapsody On A Theme By Paganini, Op.43: Variation XI
Rhapsody On A Theme By Paganini, Op.43: Variation XII
Rhapsody On A Theme By Paganini, Op.43: Variation XIII
Rhapsody On A Theme By Paganini, Op.43: Variation XIV
Rhapsody On A Theme By Paganini, Op.43: Variation XV
Rhapsody On A Theme By Paganini, Op.43: Variation XVI
Rhapsody On A Theme By Paganini, Op.43: Variation XVII
Rhapsody On A Theme By Paganini, Op.43: Variation XVIII
Rhapsody On A Theme By Paganini, Op.43: Variation XIX
Rhapsody On A Theme By Paganini, Op.43: Variation XX
Rhapsody On A Theme By Paganini, Op.43: Variation XXI
Rhapsody On A Theme By Paganini, Op.43: Variation XXII
Rhapsody On A Theme By Paganini, Op.43: Variation XXIII
Rhapsody On A Theme By Paganini, Op.43: Variation XXIV

Customer Reviews:

amazing pianist, lovely record.......2000-02-08

fleisher has always been one of my favorites, with one or both hands, and this collection is just wonderful.

it would be tedious to go over all the music, but high points for me are the liszt sonata, which is hard to sustain, the rorem barcarolles, which are rarely played and quite charming, and alborada del gracioso -- fleisher's performance just blows me away every time i hear it.

what's best about his playing, for me, is the lack of sentimentality (as well as perfect chops...)

Oleg Marshev Plays Rachmaninoff
Average customer rating:
Oleg Marshev Plays Rachmaninoff
Rachmaninoff , and Marshev
Manufacturer: Danacord Records
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
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ASIN: B00005B6C6
Release Date: 2001-04-01

Sviatoslav Richter Plays Rachmaninoff
Average customer rating:
Sviatoslav Richter Plays Rachmaninoff

Manufacturer: Regis
ProductGroup: Music
Binding: Audio CD

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ASIN: B000H8RUOO
Release Date: 2007-04-10