Rachmaninoff: Piano Concertos Nos. 2 & 3

Editorial Reviews
Amazon.com essential recording
Byron Janis' celebrated recordings of these two concertos have never sounded better than in this new remastering by Mercury's Wilma Cozart Fine. Talk about recordings usually focuses on the artists and composers, and rightly so, but there are some people in the industry whose names you should know, producers and engineers whose work is as artistically excellent as the performers they record. During the late 50s and early 60s the Fines, husband and wife, created a catalog of recordings, which, when all is said and done, is probably title for title the finest in existence. There isn't a single one that isn't worth hearing, and some, like this one, belong in every collection. --David Hurwitz

Tracks:

Piano Concerto No. 3 In D Minor, Op. 30: Allegro ma non troppo
Piano Concerto No. 3 In D Minor, Op. 30: Intermezzo: Adagio
Piano Concerto No. 3 In D Minor, Op. 30: Finale: Alla breve
Piano Concerto No. 2 In C Minor, Op. 18: Moderato
Piano Concerto No. 2 In C Minor, Op. 18: Adagio sostenuto
Piano Concerto No. 2 In C Minor, Op. 18: Allegro scherzando
Prelude In E-Flat Major, Op.23, No.6
Prelude In C-Sharp Minor, Op.3, No.2

Amazon.com essential recording

Byron Janis' celebrated recordings of these two concertos have never sounded better than in this new remastering by Mercury's Wilma Cozart Fine. Talk about recordings usually focuses on the artists and composers, and rightly so, but there are some people in the industry whose names you should know, producers and engineers whose work is as artistically excellent as the performers they record. During the late 50s and early 60s the Fines, husband and wife, created a catalog of recordings, which, when all is said and done, is probably title for title the finest in existence. There isn't a single one that isn't worth hearing, and some, like this one, belong in every collection. --David Hurwitz

Customer Reviews:

The definitive recording.......2007-07-17

Although this album features two orchestras (LSO and then the Minneapolis Symphony Orchestra) the early 1960s Janis-Dorati partnership produced what is arguably the best single piano & orchestra disk in the catalog and a definitive rendition of these two popular concerti.

While the pace is sometimes stately for the big rolling Rachmaninov themes, the passage work is spritely and the overall effect is one of great energy.

The particular benefit of these early 1960s recording is Wilma Cozart's Mercury Living Presence technique which used a single placement of just three microphones (unlike the modern tendency to "mike" every instrument in the orchestra and then adjust balance concerns in re-mixing). This gives the thrill of being at an actual performance (the "living presence" of the orchestra) but without the coughs and other limitations of a concert recording. Indeed, although the CD is reconstructed from original analog tapes, it's hard to imagine that any recording with the best artist in the world could improve on the sound.

In short, if my house was burning down, I'd run back in for this CD.

my ears don't lie do they?.......2006-05-29

I have no reference to compare this recording with, I only have Rachmaninov's 2nd piano concerto played by Richter which I like very much, but I cannot describe what's so good about it.
I don't have enough interest for piano solo or recitals to be able to tell what exactly makes a good pianist (in general and for me personal)
I'm not even sure what I like or not.

Well maybe I like uncomplicated, straightforward piano playing, with a somewhat light, clear touche the best, I'm not that fond of heavy pedal use.
(I like Kempff's Beethoven Concertos with Ferdinand Leitner very much)

But my taste and understanding for piano solo (violin solo as well) has to be developed yet.
For now I'm choosing "uncomplicated playing" as my personal preference...but with not much confidence about it.

These performances by Janis and Dorati are pretty straightforward and I'm pleased that I made a good choice out of many recordings.

Dorati's orchestral accompaniment is forceful, sometimes pretty manic, he constantly breaths in Janis' neck, which is breathtaking.
The sound of the orchestra/recording is close and direct with lots of presence what helpes to get even more involved in the performance.
The performances I heard never gave that sense of commitment in the music Dorati and Janis give.
True, the recording helps a lot and obviously the "old sonics" too...I mean the sound is absolutely fabulous, but you're aware it is an old recording and it does add that bit of authenticity to it.

In Rachmaninov's 2nd concerto I like Richter/Wislocki better, but probably only because of the 1st movement, which is slower - slower than everyone else, for me Richter/Wislocki's tempo feels more natural than Rachmaninov's own and everyone else's faster readings.
Janis/Dorati's Minneapolis Symphony Orchestra however is better than Wislocki's Warsaw Orchestra.

As you noticed I haven't mentioned Byron Janis' playing at all...that's because I simply cannot say anything relevant about it, I have to learn a lot and listen to many pianists to make a valid comment.

The performance itself, as a whole, by Janis and Dorati is excellent, no doubt about it, there must be something seriously wrong with my ears if I am wrong about this.

Classic!.......2006-02-19

Definitely a "must-have" performance in piano concerto category. One of a great recordings sonically. Mostly clean throughout the disc, I heard just a few cracking noises during high energy sections.

A very special gifted pianist!.......2005-07-06

Byron Janis was one of the most prominent American pianists of his generation, headed by William Kapell, Rosalyn Tureck, Leon Fleisher, John Browning and Lorin Hollander.He possessed tune, technique and temperament, the famous three T required to shine in this difficult activity.
Maybe the favorite repertoire did not fill the future expectations of new audiences after the sixties. The new tendencies of the Sixties shaped new searches: the Russian repertoire had been reassigned to three magnificent pianists from the USSR: Emil Gilels, Sviatoslav Richter and Vladimir Ashkenazy. The impressive number of Piano Festivals all around the world turned out the attention of new audiences, avid to meet the new talents: precisely The Busoni competition allowed to young promises as Marta Argerich to get a place, but also worked out positively for many European artists as Alfred Brendel, Walter Klien, John Lill, John Ogdon, who triumphed in Tchaikovsky Competition.
The special interest for the Russian music, decayed in that decade. Mahler, Shostakovich, Nielsen, ascended in the musical taste and the piano music of Mozart, Beethoven, Brahms and Schubert remained for small audiences in Europe, but not in USA . There was a huge interest for the new compositions, so Bartok, Schoenberg, Messiaen, Copland and even Brahms held the attention, but the orchestral sound prevailed over the Hall Concerts. The European invasion and the new names from the other side of the Atlantic Ocean, shadowed many emerging figures.
That's why the new generation of pianists (with the exception of two true icons in the American pianism as Rosalyn Tureck and Earl Wild) as David Dubal, Gerard Robbins, Paul Jacobs, Raymond Lewenthal, Jerome Rose, Adrian Ruiz and Ursula Oppenheimer decided to play Reinecke, Copland, Busoni, Alkan and Liszt.
In other words the lack of perception of the new musical tendencies, plus the sudden decay of new directors established the difference and the artistic surviving for many gifted pianists, far beyond the personal disgrace of Fleisher.
However this recording will become a true historical reference for the future generations.

Beautiful recording.......2005-04-19

What can I say about this CD that's not already said? I totally agree with all the comments expressed here by all the reviewers.

In all my 50 years, I never knew piano music could be so rich, evocative and inspiring. This is one discovery that came so late but nevertheless so wonderfully fulfilling and satisfying in my enjoyment of music over a lifetime. I can truly say that this music has enriched my life and came at a time when life seems to be coming to a close, at least as I perceived it for myself. Imagine, such music created nearly fifty years ago still sound so fresh and beautiful that it can touch, move and inspire us even now, after all the years! I encourage music lovers everywhere, especially of classical music, to get hold of this CD and listen to it at least once in their lifetime. You may experience the same sense of joy and wonder as I have. Also, as far as possible, try to listen to it on a high-end high-fidelity audio system. This will definitely give a clearer and more detailed insight, `revelation' into the music, making it that so much more enjoyable.

If Byron Janis was a student of Vladmir Horowitz, then I must say that in this instance, the disciple has truly excelled above and beyond that of the master (as chinese sayings go). In comparison to the Horowitz/Reiner/RCA/1951 recording which some described as the definitive and ultimate interpretation of the Rachmaninoff Third, I find that the latter much less emotionally involving and satisfying. In my opinion, many things in the latter - the seemingly `missing' orchestration (overwhelmed by the forceful pianist maybe), the `plonky' and `banging' piano tone in many instances, the relatively `cold' technical rendition, poor mono recording with thin and reedy sounds overall etc - make it inferior by far. The only other worthy contender, which even comes close to this by Byron Janis, is the Martha Argerich/ Kondrasin/Bavarian RSO/Philips/1980 recording.

So don't hesitate, go get the SACD version of this CD now and enjoy....

Serge Rachmaninoff: Piano Concertos Nos. 1-4/Rhapsody On A Theme By Paganini

Average customer rating:

Rachmaninoff, Piano Concertos Nos. 1-4/Rhapsody On A Theme By Paganini
4 out of 5 or 3 our ot of 4
low-hanging fruit
Fantastic
A decent set

Serge Rachmaninoff: Piano Concertos Nos. 1-4/Rhapsody On A Theme By Paganini

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Van Cliburn: My Favorite Rachmaninoff
Serge Rachmaninoff: 3 Symphonies/The Rock
Sergei Rachmaninoff: Greatest Hits
Rachmaninoff plays Rachmaninoff
Rachmaninoff Plays Rachmaninoff

ASIN: B000004167
Release Date: 1993-10-12

Tracks:

Piano Concerto No. 2 In C Minor, Op. 18: 1. Moderato
Piano Concerto No. 2 In C Minor, Op. 18: 2. Adagio sostenuto
Piano Concerto No. 2 In C Minor, Op. 18: 3. Allegro scherzando
Piano Concerto No. 3 In D Minor, Op. 30: 1. Allegro ma non tanto
Piano Concerto No. 3 In D Minor, Op. 30: 2. Intermezzo (Adagio)
Piano Concerto No. 3 In D Minor, Op. 30: 3. Finale (Alla breve)

Tracks:

Piano Concerto No. 1 In F Sharp Minor, Op. 1: 1. Vivace
Piano Concerto No. 1 In F Sharp Minor, Op. 1: 2. Andante
Piano Concerto No. 1 In F Sharp Minor, Op. 1: 3. Allegro vivace
Piano Concerto No. 4 In G Minor, Op. 40: 1. Allegro vivace. (Alla breve)
Piano Concerto No. 4 In G Minor, Op. 40: 2. Largo
Piano Concerto No. 4 In G Minor, Op. 40: 3. Allegro vivace
Rhapsodie On A Theme By Paganini, Op. 43: Rhapsody On A Theme By Paganini, Op. 43

Customer Reviews:

Rachmaninoff, Piano Concertos Nos. 1-4/Rhapsody On A Theme By Paganini.......2007-03-09

I am truly enjoying them. I play them almost daily.

4 out of 5 or 3 our ot of 4.......2007-02-21

I didn't care for the interpretation of the Third piano concerto, It was a bit rough around the edges and lacked lyricism. I bought the set because I heard the 4th on NPR and loved it.

low-hanging fruit.......2007-02-15

Sergei Rachmaninoff's music for piano and orchestra is easy to love. Its lyrical romanticism and connections with successors that lead even to jazz piano tend to be accessible to contemporary listeners. It is some of the most stirring music ever written, though it does not earn the respect of work written by canonical masters of the genre like Mozart and Beethoven.

When you pair this music with Edo de Waart's baton (now in Hong Kong), Rafael Orozco's keyboard, and the always dependable Royal Philharmonic Orchestra, you've got a situation where artistic ripe fruit is hanging low for the picking.

After you've loved this double CD recording to death, make it a project to introduce someone who needs orchestral music in her life but doesn't see it yet. Rachmaninoff might just be the doorway.

Lovely, lovely music, perhaps even for hearts worn flat by pop culture's single track.

Fantastic.......2006-11-29

As a reviewer said below (I 100% agree), technically, the pianist's technique is virtually godlike (Czifra-like technique). Maybe musically he provides a unique interperetation... but in a positive way! After listeting to about 10 versions of Rachman.concertos, I found the Orozco interpretation and understanding of the concertos to be far the superior!! Originally I had no idea about this recording and wanted to go with Kissin or Kondrashin etc. Also because the quality of this recording is not the top one (but it is not that bad - I just call it "philips sound"). To conclude, to me this is finally the kind of interpretation which makes me stand up from the chair and which makes me chill. Like Heifetz on violin. The performance has unbelievable emotional drive - Orozco is unbelievable. Kissin pales beside him, really.

A decent set.......2006-09-07

Perhaps the greatest virtue of this recording set is that it very nicely comes with the complete set of Rachmaninoff works for Piano and orchestra, but other than that, unfortunately, it counts for little else.

Technically, the playing is solid. However, the interpretation has less soul to it than I would really like in such deep music as this. Many beautiful sections of music are glossed over, such as the opening of the Fourth Concerto, the opening of the Rhapsody, and other parts.

As a complete set, this recording is at best a bargain set with bargain priced playing and sound... However, if you are looking for interpretations of the individual pieces included, each one has at least several more satisfying recordings available. Looking for a complete set is now much easier--check out Nikolai Lugansky's complete set for only about $2 more, last I checked.

Rachmaninoff Piano Concertos Nos. 2 & 3 / Rhapsody on a Theme of Paganini / Muti, Gavrilov

Average customer rating:

Outstanding performances by one of the great pianists.
Good choice for a sampler of Rachmaninov's best

Rachmaninoff Piano Concertos Nos. 2 & 3 / Rhapsody on a Theme of Paganini / Muti, Gavrilov
Rachmaninoff , Andrei Gavrilov , Philadelphia Orchestra , and Riccardo Muti
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Prokofiev: The Five Piano Concertos; Overture on Hebrew Themes
Tchaikovsky: Piano Concerto No.1; Prokofiev: Piano Concerto No. 1; Balakirev: Islamey
Rachmaninoff: The Complete Preludes for Piano
Rachmaninoff: Piano Concertos Nos. 2 & 3
Haydn: Symphonies #99-104; Sir Thomas Beecham; Royal Philharmonic

ASIN: B0001RVRGI
Release Date: 2004-08-10

Tracks:

PC No.3 In D Minor - I Allegro Ma Non Tanto
II Intermezzo (Adagio)
III Finale (Alla Breve)
Introduction (Allegro Vivace) - Variation 1 And Theme
Variation 2
Variation 3
Variation 4
Variation 5
Variation 6
Variation 7 (Meno Mosso, A Tempo Moderato)
Variation 8 (Tempo I)
Variation 9
Variation 10
Variation 11 (Moderato)
Variation 12 (Tempo Di Minuetto)
Variation 13 (Allegro)
Variation 14
Variation 15 (Piu Vivo, Scherzando)
Variation 16 (Allegretto) -
Variation 17
Variation 18 (Andante Cantabile - A Tempo Vivace)
Variation 19
Variation 20 (Un Poco Piu Vivo) -
Variation 21 (Un Poco Piu Vivo) -
Variation 22 (Un Poco Piu Vivo, Alla Breve) -
Variation 23
Variation 24 (A Tempo Un Poco Meno Mosso)
Etude-Tableau In F Sharp Minor, Op.39 No.3
Etude-Tableau In E Flat Minor, Op.39 No.5

Tracks:

I: Moderato
II: Adagio Sostenuto
III: Allegro Scherzando
Prelude, Op.23 No.2 B Flat Major
Prelude, Op.23 No.1 F Sharp Minor
Prelude, Op.32 No.5 G Minor
Prelude, Op.23 No.6, E Flat Major
Prelude, Op.32 No.12, G Sharp Minor
Elegie, Op.3 No.1, E Flat Minor
Moment Musical, Op.16 No.3, B Minor
Moment Musical Op.16 No.4, E Minor,
Moment Musical, Op.16 No.5, D Flat Major
Moment Musical, Op.16 No.6, C Major

Customer Reviews:

Outstanding performances by one of the great pianists........2006-11-25

Incredible technique and impressive conception is displayed in the performances of these works. Highly recommended.

Good choice for a sampler of Rachmaninov's best.......2005-06-03

This is the perfect CD for those that want to start listening to Rachmaninov, because it has good interpretations of the best compositions by the outstanding Russian. The concerto No. 3 is played in a proficient manner, and even though Gavrilov does not reach the quality performances of top notch pianists like Ashkenazy or Leif Ove Andsnes, he is enjoyable to listen to. The Rhapsody on a theme of Paganini, based on the 24 Caprices by the prodigious violinist, is very good, with the only problem of lacking emotion in a couple of movements. To top off disc 1, we get two of the nine Etudes-tableaux from Op. 39, which are little gems for solo piano and have a nice contrast between them, since while No. 3 is fast and light, No. 5 is more melodic and romantic.

But talking about romanticism, let's move on to one of the most romantic concertos in existence, the No. 2. Except for the beginning, in which Gavrilov plays the second note in each bell toll too softly for my taste, the interpretation is up to par to most of the performances I have encountered. Of course there are some that are better, like Rubinstein's, if you are looking for fidelity in interpretation, or Lang Lang's, if you are searching for a more creative approach. Finally, a selection of preludes, an elegie and moments musicaux completes a selection that will give satisfaction to those looking to discover the artistry of this composer.

This is a remastered recording (stereo / DDD) with excellent sound quality. So considering the vast selection, the good performance of Gavrilov and the Philadelphia Orchestra and the price, it is as good a deal as you can get. I would recommend not passing it up.

Average customer rating:

This is a peerless reference performance
The best orchestra; but the pianist is little weak
Refreshing, passionate, and unburdened!
Bland interpretations
Choices

Rachmaninov: Piano Concertos Nos. 1 & 2
Sergey Rachmaninoff , Leif Ove Andsnes , Antonio Pappano , and Berlin Philharmonic
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Richard Goode Performs Mozart
Grieg: Peer Gynt
Bartok: The Piano Concertos
Horizons - Leif Ove Andsnes
Mozart: Piano Concertos #9 & 18 - Leif Ove Andsnes

ASIN: B000B63IEI
Release Date: 2005-10-04

Tracks:

I: Vivace
II: Andante
III: Allegro Vivace
I: Modereto
II: Adagio Sostenuto
III: Allegro Scherzando

Amazon.com

Leif Ove Andsnes is a great pianist, equally at home in solo and chamber music, on stage and disc, in all styles and national idioms. His virtuosity is so unobtrusive, his control of touch and nuance so natural that the music seems to flow through him directly to the listener. His runs have a brilliant, feathery delicacy, but are always part of the musical fabric; his chords are powerful but never harsh. He brings to the Rachmaninov concertos on this record not only romantic sweep, grandeur, vitality, and expressive freedom, but an almost classical purity of line and clarity of texture. Only a great pianist who knew every resource of his instrument could have written these concertos. Hearing them together illustrates why the Second is so much more popular than the First. Written ten years later after a triumphant recovery from depression, it is more cohesive, less episodic; the melodies are more ravishing, the harmonies more evocative; the music seems to pour out in an irresistible stream of inspiration. Andsnes brings out all the exuberance, passion, melancholy and exaltation without letting sentiment lapse into sentimentality; his tempi are judicious, his liberties balanced, his contrasts restrained; there is never a trace of excess. He gives this luxurious, easily exaggerated music a rare sense of nobility, dignity and refinement. The great Berlin Philharmonic revels in the lush, colorful orchestration without swamping the music or the soloist. --Edith Eisler

Customer Reviews:

This is a peerless reference performance.......2006-04-27

This recording reminds me so much of the Rach 2 by Julius katchen/Georg Solti. Andsnes and Pappano study and understand rachmaninoff's own recording very well. The performance here, especially the Rach 2, is peerless and stands with the few reference recording in history.

The best orchestra; but the pianist is little weak.......2006-03-02

Rachmaninov's first concerto can be labeled "Baby Rachmaninov." It was written by Rachmaninov when he was 17/18 (I forgot) and revised before he left for America. Like a lot of people I am a great fan of his second concerto. His first concerto, although less grand in scope, and perhaps less heavy and sorrowful than the second, is very melodic and taunting.

Andsnes interpretation is very neat/clean. He does not distort the music too much. So as long as you appreciate the music you don't get sick of it. But you may not get addicted to it since it lacks subtance and unique touch by the pianist. Andsnes does a very poor job in the climax. It definitely is not heavy and grand as it can be. Otherwise the beginning chords and melody are nice, and the orchestra is great.

The second concerto is HORRIBLE (which is very noticeable, because there are so many great recordings to compare to) In my opinion, Andsnes lacks the spirit of Rachmaninov.

Refreshing, passionate, and unburdened!.......2006-02-21

What a wonderful addition to the catalogue of Rachmaninov concertos! Leif Ove Andsnes has carefully considered the score and Rachmaninov's own recordings, and he manages to give a fresh and intimate reading of this much-celebrated music without overdoing every nuance and stretching every phrase. So many performances of these pieces want to tell you exactly how you should feel about this music; the emotions are often forced onto you. Here, though, the romance is more subtle and is found in beauty of natural phrasing, careful balance, and what I can only describe as personal storytelling. This performance would go well with the story of Romeo and Juliet-there is a youth and innocence, as well as passion and yearning. I am reminded that Rachmaninov composed this concerto when he was young.

Andsnes's technique is flawless, and he plays with a rare clarity that allows you to hear every single note. Each note is there for a purpose, and he has discovered how they each fit with one another in the larger picture (e.g., Track 4, 2:34). He also knows when and how to accompany the orchestra. Together, he and the Berlin Philharmonic, with its lush strings and gorgeous wind playing, make a wonderful partnership. The orchestra, under Antonio Pappano, is stunning and always engaged. The EMI engineering team gets credit for capturing all of the orchestra's many colors and subtleties. Unfortunately, it also captures some of the conductor's excessive breathing, but I think this is a very small price to pay for this stunning performance. The second concerto was recorded live, and the audience noise is minimal and unobtrusive throughout.

Overall, I have found this disc to be a great investment. Upon first hearing of this recording, you will discover parts in both the piano and orchestra that you had never heard before (e.g., listen to the string pizzicati that is usually covered up at Track 5, 2:01). Add that to the refreshing way Andsnes keeps the tempos flowing and manages to never lose a phrase with subtle rubato, and you have a reason to buy this recording even if you already own several. Highly recommended.

Bland interpretations.......2006-01-08

I am intimately familiar with the first concerto having played it (there are a couple of different versions with subtle differences), and I must say that the playing here is very flat. The pianist does not instill any life into the piece. I guess for the first concerto there are not as many interpretations and therefore less barometers to compare this to, though I very much prefer Ashkenazy's playing.

The second concerto is much worse. The pianist is playing too softly in the third movement, the orchestra too forwardly, flippantly aqnd nonchalant. It sounds like the performers want to get this over with and go fill out their tax returns. Basically the only thing the pianist is doing is playing the notes. He does not instill any new ideas into the piece. It does pose a problem for a pianist to play a piece as popular as this.... but the solution is not to play the notes and nothing else (maybe this is away of hedging one's reputation in light of critics). The orchestra in the third movement tries to play in a jumpy staccato like fashion which just doesn't fit Rachmaninov at all.
There are many better versions and I would start with Richter and Ashkenazy.

Choices.......2005-12-29

When it comes to contemporary interpretations of these beloved Rachmaninov piano concerti there are options and choices: some will favor the opulently virtuosic jumping off the piano bench, heart on the sleeve, guaranteed standing ovation manner where pianist vies for attention with composer; some will prefer the musical elegance to the show biz glitz and find new threads of continuity forming from the musicality of less self-serving musicians. Leif Ove Andsnes clearly belongs more in the latter category.

That is not to say that the heart of the works is flat: quite the opposite. Andsnes plays with such virtuosity that his attention to line and detail allows each of the 'big moments' to develop intelligently, sensitively, and the result is even stronger payoffs. His tone is never forced or rushed and even in the most technically challenging measures of each work his ability to make every note available to the listener's ear is a feat accomplished by few others.

Anthony Pappano and the Berlin Philharmonic provide lush, powerful reinforcement of Andsnes' choices. The orchestra blooms when starred (some very fine first desk solos here!) and supports when the piano sings the melodies. Some would say this is a thinking person's Rachmaninov, but Andsnes appeals both to the mind and the heart in this warmly detailed reading of two old warhorses of concerti. Highly recommended. Grady Harp, December 05

Rachmaninoff: Piano Concertos Nos. 2 & 3 [Hybrid SACD]

Average customer rating:

Excellent performances in SACD format
A terrific trip back into the Mercury Living Presence vaults

Rachmaninoff: Piano Concertos Nos. 2 & 3 [Hybrid SACD]

Manufacturer: Mercury
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Stravinsky: The Firebird (Complete Ballet); Fireworks [Hybrid SACD]
Prokofiev: Piano Concerto No. 3; Rachmaninoff: Piano Concerto No. 1 [Hybrid SACD]
Dvorák Cello Concerto in B minor, Op. 104; Bruch Kol Nidrei; Tchaikovsky Variations on a Rococo Theme / Dorati, Starker, London Symphony Orchestra (3-Channel and Stereo Hybrid SACD)
Bach: The Four Great Toccatas and Fugues [SACD]
Rimsky-Korsakov: Scheherazade; Stravinsky: Song of the Nightingale [Hybrid SACD]

ASIN: B0000DC15K
Release Date: 2004-10-12

Customer Reviews:

Excellent performances in SACD format.......2007-07-09

These are outstanding performances, with SACD helping to reveal more of the original LPs breathtaking analog sound.
The original reviewer needs no help in answering the comment, but it does remind me of people who throw a gasket when they spot sediment in their wine. For two decades enologists were taught to do all sorts of things to produce a stable clear product. And the wines ended up stripped and denuded, with little aroma and less flavor. But they could sit on store shelves in the direct sunlight and not go bad. (Not that it mattered.) Only in the last couple decades has this insanity been - grudgingly by the monied interests who view wine as just a variety of alcohol - turned around.
You can filter the life out of music, too, or you can present it unfiltered. The choice is yours. Tape hiss CAN be too high, but not always. The trick is finding a liveable balance, and not throwing the baby out with the bath water. Attempting to remove everything flattens out the particulars. And hiss exists for the good reason that clarinets sound astonishingly airy and beautiful when not doblyied and digitalized to death - practically any stereo Enoch Light LP reveals vastly better, life-like clarinets than anything DG has EVER done; yet such old-fashioned recordings are in too many circles today looked down on as crude and hoplessly antideluvian.
Modern digital DG recording, as mentioned in the comment, may be uncompressed, which can be quite exciting, but that's not always helpful, especially when you the listener constantly adjust the volume when noise levels shoot up and down like a yo-yo. (See the opening of the Boulez Mahler 1st, for example.)
Modern digital recordings are incredibly convenient, but they've still a long way to go, even in the SACD format, before they produce sounds as listenable as the best of long ago. Certain companies do a wonderful job, and produce very musical and natural recordings. But far too often it's like comparing soft cotton (analog) to sandpaper (digital). And let's not even go near IPODs!

A terrific trip back into the Mercury Living Presence vaults.......2004-11-24

Some good things - REALLY good things - are happening with the advent of the hybrid SACD (which I believe to be the long-term medium of choice for classical music lovers). BMG has gone back into its early-stereo-days vaults for some treasures (initially, 10 releases) from the beginnings of the Living Stereo days. And now Decca/Philips has done likewise with the Mercury Living Presence vaults. This Byron Janis/Antal Dorati Rachmaninoff collection (one of approximately six such Mercury Living Presence hybrid SACDs released so far) is as good as it gets for fans of Sergei Rachmaninoff's piano concerti.

Rachmaninoff wrote four concerti for the instrument, but the middle two, as on this release, are by far the best known (and best loved) of the four. For many years, the 2nd Piano Concerto, largely thanks to its "Full Moon and Empty Arms" theme in the final movement, was more popular with audiences and listeners than the 3rd. But, thanks largely to the dramatized travails of the Australian pianist David Helfgott in the movie "Shine," the race, as it were, is much closer. The 3rd definitely places much higher technical demands on the soloist, and in any event has always been my preference of the two.

Byron Janis, at his prime (as he is in these performances), was one of the finest pianists of his generation. (If the latest generation of classical music listeners is unfamiliar with his abilities, it certainly isn't due to the magnificent support that the Mercury label provided for him through most of those years. More likely, the unfamiliarity is due to a very steep decline in his concertizing activities once he was stricken with psoriatic arthritis in the early '70s.) A prodigious technician, Janis was also able to infuse his playing with finely-honed lyricism when called for; he was definitely not a subscriber to today's "Bang Bang" (or "Clang Clang" if you will) school of pianism. (Interestingly, he was the first private student that Vladimir Horowitz took on [and Horowitz only had a few such students]. While he undoubtedly learned well from Horowitz, I believe that his ability to combine technical prowess with lyricism was innate.)

I don't know that there are any better performances of these two popular works. I've heard many (and own a bunch of those I've heard), but when I noticed that Decca/Philips included these performances in their initial hybrid SACD release package, I scarfed up this disc in a heartbeat. The sound, even in just the "redbook" CD layer, is literally like "being there," thanks to the magnificent job that the engineers have done in transferring the master tapes to this new medium. To my ears, it is as if the sessions had been taped last week. To your ears, perhaps, you'll be satisfied that the recording quality lacks nothing as compared with current releases.

Dorati gives Janis warmly detailed and wonderfully played support, from both the Minneapolis Symphony Orchestra (now the Minnesota Orchestra) in the 2nd concerto and the London Symphony Orchestra in the 3rd concerto. Remarkably, there is no discernible difference in either the orchestras' abilities (a tribute to Dorati) or the ambient sound (a tribute to the skilled Mercury team, led by Bob Fine and Wilma Cozart Fine). I could only detect that the LSO had its violas in front of the cellos on the right, and in their more usual seating for the Minneapolis sessions. Beyond that, I doubt anyone could tell the difference.

The album is nicely rounded out with two Rachmaninoff preludes, including the famous Prelude in C-sharp Minor.

The booklet, save for technical updates describing the transfer-to-SACD process and an update on Janis's activities to the present, faithfully duplicates the original text and artwork. The text includes a perceptive essay on the concerti by Arthur Loesser, who had been, as a youth, at the world premiere performance of the 3rd Piano Concerto when Rachmaninoff performed it in New York in 1909, with Walter Damrosch conducting the New York Symphony Orchestra. Within a week, give or take, Rachmaninoff again performed it in New York, this time with the New York Philharmonic led by Gustav Mahler (an event well-documented in Mahler anecdote history by virtue of the pains that Mahler took in preparing the orchestra while Rachmaninoff waited patiently). Loesser's notes suggest that he only attended the Damrosch-led performance, and not the Mahler-led one. I dare say, had it been my allowance, I know which one I'd pick.

I also dare say that, if you pick these Janis/Dorati performances, you won't be disappointed.

Bob Zeidler

Rachmaninov: Piano Concertos Nos. 2 and 3

Average customer rating:

Rachmaninov you never knew..
Really loved them
Perhaps I'm a heretic, but...
Buy it
The REAL Rachmaninov

Rachmaninov: Piano Concertos Nos. 2 and 3

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Rachmaninov: Piano Concertos No. 1 & No. 4
Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist
Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Rachmaninov Plays Rachmaninov--Ampico Recordings (1919-29)
Rachmaninoff Plays Rachmaninoff

ASIN: B000026B8F
Release Date: 1999-10-26

Tracks:

Piano Concerto No. 2 In C Minor, Op. 18: Moderato - Allegro
Piano Concerto No. 2 In C Minor, Op. 18: Adagio sostenuto
Piano Concerto No. 2 In C Minor, Op. 18: Allegro scherzando
Piano Concerto No. 3 In D Minor, Op. 30: Allegro ma non tanto
Piano Concerto No. 3 In D Minor, Op. 30: Intermezzo: Adagio
Piano Concerto No. 3 In D Minor, Op. 30: Finale: Alla breve

Customer Reviews:

Rachmaninov you never knew.........2007-03-17

..until you hear this.

It's like the first time I heard Heifetz playing Brahms' violin concerto on the RCA recording - the flow, the speed, the unimaginable sense of freedom lacking in violinists/ pianists after the Heifetz/ Rachmaninov generation. Somehow musicians after that era began to grow "slow fingers" and shallow spirituality and it became unknown to listeners how music used to sound so free - well, they couldn't have known. We couldn't have known.

Until recordings like this came along.

So, if you're curious in even the slightest sense and think you can listen beyond the mono sound (which sounds blurred and overloaded with hisses compared to modern stereo recordings), you owe yourself a chance to discover what music making had been and gain a "new pair of ears".

It's a pity for those who can't tolerate anything other than "audiophile" sound.

Really loved them.......2005-10-25

I am really glad that I purchased both CDs (Piano Concerto No.1 & No.4 etc., Piano Concerto No.2 & No.3). I do have ones played by Rubinstein, but still, these two CDs are very special. The music is alive, and the hissing makes the music so real that sometimes I appreciate those 'noises'.

Music is different than most art forms that both composition and performance are vital to the creation of the final product. Listen to the composer himself to play the music is always a nice experience, no to speak Rachmaninov himself was a great pianist.

Perhaps I'm a heretic, but..........2005-08-14

I don't particularly like the way Rachmaninoff plays these pieces. He seems to play a little too mechanically for my tastes. It just sounds like he's simply playing the notes alot of the time. I don't think that these piano concertos should be overly-phrased and made more gushy and sentimental than they are, but there has to be something in the middle. However, some of the expressiveness may be lost by the bad recording quality.

I also disagree with the assertion that a composer is automatically the supreme interpreter of his/her own works. As a composer/performer (I realize that I'm not even on the same plane as a composer like Rachmaninoff, but I think I can draw some parallels from my own experiences), I have written works which I have performed and which have been performed by others. When having my pieces played by others, I usually just give them the music and let them play it however they want. This often leads to relevations about the music I have written. For example, a player may phrase or emphasize something completely differently than I would have, and it can be great to discover things in your own works that you never even considered possible! Additionally, I think as composers, we can sometimes view our compositions in an overly structural way (not seeing the forest for the trees sometimes). Sorry if I'm off track, but my point is that, as I said, I don't think that it is wise to automatically assume that a composer plays their own pieces better than anyone else does...

That being said, this isn't a bad recording at all. His playing is technically very good, and even if the composer isn't the supreme interpreter, it's still very interesting to hear their take on their own creations (which is almost always different than anyone elses). I agree that the cuts in the 3rd concerto are somewhat annoying, and in the first movement he opts to play the "easy" version of the cadenza (there are two versions in the music, the more difficult of which is, in my opinion, far better and more effective). I believe that in the CD booklet it said that later in life, Rachmaninoff felt that some of his writing was long-winded and as he began favoring economy, he made cuts in some of his pieces (this is perhaps an example of his overly focusing on structural aspects and not seeing the big picture - I can't imagine anyone agreeing that the revised, cut version he plays on this disc is better than the original).

Anyway, this is a worthwhile disc from both a musical and historical perspective. From a purely listening standpoint, however, I would opt for Bronfman's version of these two pieces (which also cost about 7 bucks). Of course, at this price, why not get both and decide for yourself?? Enjoy

Buy it.......2005-03-18

I will be honest, the sound quality is horrendous. However, the composer is playing his own music. It's a real bargain too. A must have for a collector.

Also buy Rachmaninov playing his concertos 1 and 4 and his Paganini rhapsody (this is also all on one CD and on NAXOS). Finally, for modern recordings, get the Ashkenazy/Previn set for all of the Piano Concertos and Leon Fleisher for the Paganini rhapsody.

The REAL Rachmaninov.......2002-08-04

Who says Rachmaninov's music is shallow and too sentimental? Blasphemy!! Maybe some over-indulgent performances by naive pianists give that impression, but on this recording, with the composer himself at the keyboard (and he was one of the greatest of all pianists) there isn't the faintest suggestion of sappyness anywhere. Sure, there's passion in his "interpretation" (if you can call it that) but he lets his passion flow through the music, not overwhelm it.

Of course, the audiophile types who love glitz and glitter won't be pleased by the prehistoric recordings, but I say, great musicianship over great technology!! Don't miss out on this just because of the sound quality. It's a five-star performance if I ever heard one.

Customer Reviews:

Could do without the B-flat creaky chair.......2006-04-10

The performance of the 2nd isn't half-bad (no opinion on the 3rd). I can tolerate the tape hiss on these old recording. It's a small price to pay for some of the excellent performances by Ormandy and Solti (and sometimes Bernstein) that were made in the days before digital recording. However, good grief, the creaking chairs in the recording of the 2nd will drive you nuts. At least it's ballanced (one in the left and one in the right speakers). I wish Sony would release more of these old recordings on CD but this one, well, I guess it's worth the seven bucks but I can take it or leave it.

Don't be too quick in going for the inexpensive option.......2005-06-03

When I saw this CD with the two most sought after concertos by Rachmaninoff, and realized that the New York Philharmonic was conducted by Bernstein in the No. 2 and Ozawa in the No. 3, I could not wait to get my hands on it. Especially considering that it was at a bargain price. Sadly, I quickly found out that there was a problem with it, since even though the CD is labeled as "Digitally remastered for superior quality", I can attest that the quality of the sound is very poor, especially in some parts, like the beginning of the second concerto.

As to the performances, the concerto No. 2 is very good, with Entremont and Bernstein complementing each other well and keeping the same tempo. Watts and Ozawa are good in the third too, but only until they get to the finale, where we see them exclude part of the movement, and play the rest of it at an incredibly fast pace. It seemed to me as if they were in a hurry because the restaurant in which they were having dinner was about to close its doors.

To sum up, even though the price is good, and the performances are decent, especially in the case of No. 2, the sound quality is sub par and drastically limits the enjoyment of the experience. Unless you like to listen to classical music while frying eggs I recommend that you look for an alternative. In terms of low price options, I would recommend the EMI Classics release featuring Gavrilov and the Philadelphia Orchestra, which is a little more expensive, but has much better sound quality and includes other pieces, like Rhapsody on a Theme of Paganini and some other compositions for solo piano.

Reasonable Rachmaninov.......2003-07-16

As I have stated in many of my previous reviews, I am a huge fan of the Sony Essential Classics (SEC) budget series. Most of the recordings feature classic and often definitive performances featuring the likes of Eugene Ormandy, George Szell, Isaac Stern and Rudolf Serkin among others. Here we get the great Leonard Bernstein leading the New York Philharmonic with pianist Philippe Entremont on the 2nd Rachmaninov Piano Concerto, and Seiji Ozawa and the NYPO with Andre Watts on the 3rd. Let me just say up front that these are very good, but not great performances. You have to wonder what both Bernstein and Sony thought about these performances by the following. Bernstein went back to the studio four years later (in 1964) to re-record the second with Gary Graffman, while Sony issued a competing digital recording in the SEC series by Yefin Bronfman with Salonen and the Philharmonia. Of course with this edition, Sony did reissue this title, and they would not have made the investment if it was truly that bad. But if you are looking for a truly great coupling of the Rachmaninov's 2nd & 3rd Concertos, get the Janis/Dorati on Mercury Living Presence.

Rachmaninoff: Piano Concertos Nos. 2 & 3

Average customer rating:

Great recording and performances except for...
The Perfect Rachmaninoff 2 & 3
Highly Accomplished!
FANTASTIC
Surprising lack of depth........

Rachmaninoff: Piano Concertos Nos. 2 & 3

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Tchaikovsky: Piano Concerto No. 1; Rachmaninoff: Rhapsody on a Theme of Paganini
Brahms: Piano Concerto No. 1
Brahms: Piano Concerto No. 2 / Variations on a Theme by Haydn for Orchestra Op. 56a
Prokofiev: Piano Concertos Nos. 2 & 3
Rachmaninoff Piano Concertos Nos. 2 & 3 / Rhapsody on a Theme of Paganini / Muti, Gavrilov

ASIN: B000003CX8
Release Date: 1991-10-15

Tracks:

I. Moderato
II. Adagio Sostenuto
III. Allegro Scherzando
I. Allegro Ma Non Tanto
II. Intermezzo: Adagio
III. Finale: Alla Breve

Amazon.com

If you're looking for really good Rachmaninoff in top-of-the-line digital sound, then this is the recording of choice. It's curious that these often-recorded works are so difficult to bring off on record. There are many options, but the great versions have been around for decades. These performances challenge the past triumphantly, being neither too self-indulgently slow, nor merely empty virtuosity. Rachmaninoff's concertos are more like symphonies with piano solos--the piano accompanies the orchestra as much as the other way around, and great performances understand the need for an unprecedented degree of cooperation between soloist and conductor. It's a lesson that Lorin Maazel and Horacio Gutierrez have certainly learned, as you can hear for yourself. --David Hurwitz

Customer Reviews:

Great recording and performances except for..........2003-12-15

...dynamics. For some reason, it seems Mr. Maazel can't get the orchestra to play below a mezzo forte. That's the problem with this recording. It's almost always loud even in soft passages decreasing the emotional punch of the performance. I fear it's Maazel's fault and the recording engineers as Gutierrez is pretty much playing prominently as he should. But when the orchestra should be quiet it's playing at least at a mf. The lack of dynamics on the soft end cause this recording to be rated 4 instead of 5 stars in my opinion. This is still a worthwhile performance to have but I recommend the Volodos version instead. The sonics are as good, if not better, the performance is mind-blowing and it's a live performance to boot.

The Perfect Rachmaninoff 2 & 3.......2002-07-10

This is the best CD in the world. It contains perfect performances of the best musical compositions ever! Buy it now, then you can finish reading this.

My interest in classical music began years ago with this very CD, when I checked it out from the library for no reason. I never experienced such intense musical pleasure in my life. I am the kind of person that appreciates music much more for composition than performance. In a classical recording, I look for a spotless, untainted production of the composer's intent. I don't want it to be altered by an artist's individual interpretations. So, in light of this musical philosophy, I confidently declare that this album is absolutely perfect. The recording is balanced. The temperament is neutral. Is that bad? No. It allows the emotion of Rachmaninoff's composition to come through at 100%.

Highly Accomplished!.......2001-11-14

When a record outfit with the resources of Telarc takes on a mainstay such as the "Rach Three," we practically expect the outcome to be the new digital reference for that work. Their track record, as far as sound quality, is that good. They don't skimp on artistic talent either: Horacio Gutiérrez has been recording at a rapid pace of late, commensurate with his talent I think. As technique and elegance go, he's the Itzhak Perlman of the piano, working miracles with a minimum of apparent effort. Maazel was the conducting prodigy, who at fifteen led teenager Byron Janis on a romp through the Rachmaninoff Second. Today he's considered "temperamental."

In music that is all about temperament, Maazel and Gutiérrez choose to play it safe. Granted, some of the tempos they take would have lesser pianists bleeding over the keys, but Gutiérrez always has it well in hand - whether it's the power chords of the Alla breve are hammered out with ease. The cadenza (he plays the abridged version) thunders politely. There was a potential in this recording for complete mayhem, the kind of emotional volatility that makes Sviatoslav Richter's Second and Earl Wild's Third spine-tingling. Not that I believe that a great performance must strike fear in the listener, but there should be a moment when the audience is transported unexpectedly, a Busonian moment when the music "dematerializes" and is all around us.

I have some minor quibbles. In the Third Concerto, the developmental material of the first movement, when it does not concern the piano, is pushed along at a faster tempo. Does Maazel find these transitions academic? Immediately preceding the cadenza, he gives the eerie falling motif in the strings short shrift by waving the players on through. Gutiérrez doesn't get the critical silence he needs before the cadenza erupts.

Though it fell short of conjuring ecstatic moments for me, this record sustains a high level of involvement. I don't doubt many pundits would prefer it over the versions I've mentioned, because it doesn't take those risks: no jabbing accents, no bass notes pounded like depth charges, but plenty of exquisite virtuosity.

FANTASTIC.......2001-04-04

When I bought this copy of the rach 2 and 3 I expected to be impressed but I was simply amazed at the brilliance of the performances! Firstly, I believe that Gutierrez is an outstanding player, and his passion especially shows during the more demanding sections of the rach 3! Another person who reviwed this cd stated that it was all rushed!Balderdash!If anything the rach3 especially is ofton taken at such a slow tempo that the russian passion and agression that is the rach3 is lost!The performances on the cd a show the way that both pieces shoud be played! The first movment cadenzas of the rach 3 are simply stunning!Gutierrez really is amazing! Mazzals orchestra sound superb, and also display the passion that these pieces deserve! The sound quality is perfect, and the balance of the instuments is perfect. If you love rachmaninoff you must buy this cd! I actually own two copies in case something happens to one!!

Surprising lack of depth...............2001-03-28

I am somewhat dismayed at the reviews of this disc. I found both perf's hurried and therefore lacking any insight. Why? I watched Gutierrez perform the 3rd on the PBS series Previn and the Pittsburgh and that was by all accounts for me, the best "Rach3" I've heard. I had also heard that Maazel and Gutierrez weren't exactly hitting it off too well when they were preparing this piece for the Pittsburgh public. This Rach 3 just wasn't what I expected.

Tracks:

1. Moderato
2. Adagio Sostenuto
3. Allegro Scherzando
1. Allegro Vivace (Alla Breve)
2. Largo
3. Allegro Vivace
Moderato/Vivace/Andante - Vladimir Ashkenazy Andre Previn

Average customer rating:

Two non-Russians scale monuments of Russian style

Rachmaninoff: Piano Concertos Nos. 2 & 3

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B0000CNTLT
Release Date: 2004-01-13

Customer Reviews:

Two non-Russians scale monuments of Russian style.......2007-03-18

Knowing that Barry Douglas won the Tchaikovsky piano competition in 1986, the first non-Russian since Van Cliburn three decades earlier, I was intrigued to hear his Rachmaninov Second. RCA gave Douglas a good run for almost a decade (he was a favorite of British critics), and this is a sweeping acount in big sound, if a little harsh. Tilson Thomas conducts the LSO, then his own orchestra, in the grand manner, but Douglas himself doesn't make a strong enough impression in the Russian idiom. Hearing non-Russians in Rachmaninov is like hearing non-Americans in Gershwin: despite flawless technique, the imitation can't bear comparison to the real thing. Douglas lacks plushness, passion, and abandon, even though I msut admit that his piano playing per se is very fine.

The disc-mate is Byron Janis playing the Rachmaninov Third with the BSO under Charles Munch, a considerably older recording. A Horowitz protege, Janis used to charge at Russian music with twice the fierceness of the real Russians. Munch sets a fast pace, considerably faster than what we hear today--no dawdling or sentimentality here. The whole point is to get the fireworks going as fast as possible, and Janis doesn't disappoint. His flying fingerwork is clear, pointed, and a bit brusque. I can't say that I prefer him to Kissin, Argerich, or Volodos in this dazzling but overlong concerto. He's certainly the best American I've ever heard in the work, by a mile.

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