Rachmaninov: Piano Concerto No. 3/ Solo Piano Works

Editorial Reviews
Amazon.com
Volodos is the real thing, a flamboyant virtuoso with a great sense of style, tonal variety, and the kind of dexterity that draws attention to itself without taking your mind off the music. Rachmaninoff's Third is perfect repertoire for him, and he delivers an astonishing performance that combines fluency with weight. For those who found Argerich's Rachmaninoff 3 too brilliant, this performance will be deeply satisfying, the best of its kind since Weissenberg-Pretre of three decades ago. The alert, purposeful playing of the Berlin Philharmonic under James Levine adds greatly to the total impression. The recording and performance invite such concentration that you'll be startled to hear applause at the end. The solo pieces, including a transcription by Volodos of a movement from the Cello Sonata, are also beautifully played. --Leslie Gerber

Tracks:

Con No.3 in d, Op.30: I. Allegro Ma Non Tanto
Con No.3 in d, Op.30: II. Intermezzo. Adagio
Con No.3 in d, Op.30: III. Finale. Alla Breve
Son, Op.10: Andante
Morceaux De Fant, Op.3 No.5: Ser in B flat
Morceaux De Salon, Op.10 No.6: Romance in f
13 Prlds, Op.32 No.6: Prld in f
Prld in d, Op. Post.
Etude-Tableaux in c#, Op.33 No.6

Amazon.com

Volodos is the real thing, a flamboyant virtuoso with a great sense of style, tonal variety, and the kind of dexterity that draws attention to itself without taking your mind off the music. Rachmaninoff's Third is perfect repertoire for him, and he delivers an astonishing performance that combines fluency with weight. For those who found Argerich's Rachmaninoff 3 too brilliant, this performance will be deeply satisfying, the best of its kind since Weissenberg-Pretre of three decades ago. The alert, purposeful playing of the Berlin Philharmonic under James Levine adds greatly to the total impression. The recording and performance invite such concentration that you'll be startled to hear applause at the end. The solo pieces, including a transcription by Volodos of a movement from the Cello Sonata, are also beautifully played. --Leslie Gerber

Customer Reviews:

Digital Rachmaninoff.......2006-01-28

Sergei Rachmaninoff's compositions are often lumped in with other Russian nationalist composers, like Rimsky-Korsakov who wanted to raise the state of Russian music by incorporating modes and folk-elements of their native land into the mainstream. With Rachmaninoff, you get the feeling his music is Russian, but without selling out; he avoided in most cases, overtly inserting folk-sounds, but instead, composed classical music which was greatly influenced by his environment and surroundings.

The opening of his Piano Concerto No. 3 in d minor, is a fine example of that. A simple unison melody for piano, with simple orchestral accompaniment seems delicate, classically balanced, and tuneful, but the integrity of the melancholy nature seems to listeners as Russian. The theme returns three times, each time as charming and fondly remembered as the first. A more positive secondary melody speaks of love and yearning, evoking Rachmaninoff's highly Romantic compositional style. After the second reprise is a passionate piano cadenza (Volodos choose the longer one), bringing the moods of both motives. The d minor opening movement has a feel of forward movement without being rushed, and the lush Romantic orchestration is colorful and dramatic. The second movement has a potpourri of emotions, including a few reoccurring important ideas. The opening pastoral string section continues the mood of the opening movement, but when the piano enters, it becomes a peaceful pastoral scene. In contrast, a great sweeping theme of passionate emotion, in an almost exotic mode, takes over from time to time, again, rooting the listener in a Russian composition. A brash conclusion links the second movement to the third with a whirlwind scalular passage for orchestra and piano. The final movement begins with a forceful idea, again in the minor, which modulates around creating an interesting kaleidoscope of colors, much like the opening. A whimsical scherzo, along with a reprise of the opening movement's "love" theme gives the final movement an emotional pastiche feel. The work ends in an upbeat key, with broad Romanticism and stunning virtuosic athleticism. The final movement is a work-out for both orchestra and pianist.

This recording features James Levine and the Berlin Philharmonic. Levine, the conductor of the Metropolitan Orchestra, has a natural timing for drama, and it aids this performance of a highly dramatic, Romantic work. The Berlin Philharmonic is full-bodied and accompanies well (the piano rarely takes a break); although, I feel the orchestra could be more present, especially in the opening movement and parts of the third, where the orchestra is sometimes obscured by the piano. Levine also keeps the music moving forward, never langoring in over-Romanticization, a plus for this performance (leaves the listener wanting more). The engineers know who the star of the concerto is; Arcadi Volodos gives an extroverted performance of the concerto and is placed forward in the recording. He is delicate and sensitive at need, but really shines in the virtuosic arena. Minus the slight balance issue, this is a stupendous performance, if not the finest, at 40 minutes.

An extra 20 minutes of Rachmaninoff's solo piano repertoire is added to the concerto. The etude tableaux in c-sharp minor, no. 6(9), preludes in d minor and f minor, romance in f minor, serenade in b-flat minor, and Volodos' transcription from a cello sonata is included. Showcasing sensitivity, as well as athletic virtuosity, the pieces fill out the CD nicely. Interpretively, this CD can stand with most, sonically, it outdoes most. If you are looking for just the 3rd concerto only, this is an easy recommendation of a digital recording. Many labels, however, put out combinations of concertos, which might appeal to a larger consumer base. This CD is an excellent performance, an easy buy.

Stunning performance, and excellent sound!!.......2005-07-05

Volodos is an aspiring star at the piano, and he has showed us his technical and musical abilities several times. This recording of Rach 3 is to be remember as one of the great! I am not saying it is the best, because that for me can change day by day. I have my top 3 and that is enough!
The performance is excellent both from pianist, orchestra and sound technicians! The sound is overwhelming on a good surround system!
The enterpretation is strong and majestic and has all the elements you demand plus somewhat more. The octaves on the end of the 3. mvmt could have been much faster. We know Arcadi by now, and is there something he has no problems handling it is octaves.
If you like Rach 3, this shoukd be in your shelf!

Beautiful .......2004-09-16

This is a beautiful performance of the Rachmaninoff Third, well thought out, finely crafted, lovingly realized. I had not heard the young Russian pianist Volodos before, and I put on this CD with some trepidation, thinking, "Oh boy, here goes another young firebrand virtuoso, trying to out-Horowitz Horowitz, out to razzle-dazzle us into submission with his virtuosity." But that's not what we get here at all. Volodos plays with admirable taste, restraint, and lyricism, with poetry and sensitivity, phrases beautifully and plays with handsome, singing tone (he never pounds or bangs). He has technique to burn and his fingers fly as fleetly as anyone's, but his virtuosity is everywhere at the service of the music (not the other way around, as was so often the case with Horowitz). (My only quibble, and it is a minor one, is that he sometimes uses more pedal than I would like.) His goal is to offer the most beautiful performance possible of the concerto, to perform the music to the music's utmost advantage, and not to show off his own big technique. He plays with remarkable maturity for so young a pianist (he was 27 when the recording was made). Clearly a young man to watch.

For their part Levine and the Berlin Philharmonic provide warm, finely gauged, fully sympathetic support--support really isn't the right word here, for a work that has been aptly described as a "piano symphony." The live performance (from the Berlin Philharmonie, June 1999) is captured in fine sound, with the balances well judged: the piano is not unduly prominent, but is well integrated into the fabric of the orchestra. You are unaware there is an audience until the well-deserved spontaneous ovation erupts at the end. A lovely performance. If it never achieves, for example, quite the heroic liftoff of the famous Cliburn/Kondrashin 1958 live performance in Carnegie Hall, it has compensating beauties of its own (including better sound). Those who view this concerto as a vehicle for fire-breathing virtuoso display are advised to look elsewhere.

The CD is filled out (total timing 61:02) with six short Rachmaninoff pieces, studio recordings (made in Berlin in Jan. 2000). These pieces are pleasant without being of any great substance. I found Volodos's own transcription of an andante movement from a cello/piano sonata the most attractive of the lot. Again, Volodos's singing tone and warmly affectionate playing emphasize lyricism more than fire (and again, he sometimes plays with more pedal than I like). Strongly recommended.

One of the best recordings to date!.......2004-01-19

I consider the Rach Third Piano Concerto to be my favorite romantic concerto. I have heard many recordings of this piece, including the Horowitz version with Philiadelphia Orch, and the video with Zubin Mehta. Volodos's command of the piece is Astonishing to say the least. I feel Volodos pulls off every facet needed to play this great piece. He has the virtoustic power of Horowitz and the needed sensitivity to bring out the concerto's darker and more expressive sides.
All in all a truely fantastic recording worthy of all praise.

Quite Simply The Best Rach 3rd Out There Today.......2003-12-15

I am frankly, flabbergasted as to the negative criticisms of this recording! It is simply, sonically AND artistically the best performance of this concerto on the market today. It's better than the Weissenberg/Pretre version. It's better than Argerich! Yes, it's even better than Horowitz himself! It's simply astonishing. I have over 50 recordings of this piece and this one surpasses them all. I have recently listened to every one of the recordings I have, and none even come close. The sound is fantastic. The playing sublime.

Volodos plays the entire work without any cuts for starters unlike the Horowitz, Janis, Wild, Watts and Rachmaninoff, himself, versions and connects the whole thing together structurally tight as a drum. Volodos plays the heavier cadenza in the first movement, and quite simply, gives the most stunning performance of it I've ever heard. The only person who comes close is Cliburn's legendary 1959 recording, but the sound isn't as good, obviously, and Cliburn doesn't have Volodos' sense of spine-tingling drama and excitement (though, I'd have to say Cliburn's rendition is not far behind).

Volodos' playing of the 2nd movement is beautiful beyond compare. He takes the 3rd movement at a breakneck speed and one can hear just about every note, unlike many performances (Argerich's for one) where half the notes on the piano aren't even audible. Argerich's performance, while fantastic, is simply not as well thought out, technically as perfect, nor as carefully prepared as Volodos'.

Levine and the Berlin Philharmonic are excellent and the sound quality is the best I've ever heard on a live recording. I would be interested to know how much touch-up work was done on it if any. The piano can be heard properly at all times unlike many newer Rach 3rds that try to "integrate" the orchestral and piano parts so it sounds like a symphony, which it is NOT. IT'S A PIANO CONCERTO and the piano needs to be heard almost all the time as the most prominent player; and this recording fills the bill most expertly.

Tracks:

I. Allegro Non Troppo E Molto Maestoso
II. Andantino
III. Allegro Con Fuoco
Prelude In G-Flat Major, Op.23 No.10
Moment Musical In E-Flat Minor, Op.16 No.2
Daisies, Op.38 No.3
Prelude In G Major, Op.32 No.5
Oriental Sketch
Melodie In E Major, Op.3 No.3
Concert Paraphrase On Polka Italienne

Amazon.com

Here the big-toned Arcadi Volodos takes on one of the most familiar masterpieces of the piano repertoire, the Tchaikovsky First. It's a piece that is so familiar we tend not to listen to it very carefully, but Volodos finds subtleties and emphasizes interesting ideas. The expected power is there--the opening chords could knock you over--but he's wonderfully insightful in the softer passages and the middle movement is ethereal in the extreme; he also finds a certain pointillistic lyricism in the finale before he returns to the potency of his opening statement. The six Rachmaninov solos show varied sides of both the composer and Volodos: Mélodie is as peaceful as Volodos' own arrangement of the Polka italienne is wild--it fairly bursts out of the speakers. The Tchaikovsky was recorded live and the forward sound is a bit aggressive but exciting; Seiji Ozawa and the Berlin Philharmonic are as impressive as the pianist. Recommended. --Robert Levine

Customer Reviews:

FINE PERFORMANCE!!!.......2007-03-21

Rubinstein, Horowitz, Van Cliburn, Gilels, Richter, y en este caso Volodos, otra interpretacion mas de uno de los conciertos mas populares del repertorio. Hay muchisimas y bellas aproximaciones al concierto del compositor ruso, y esta, de la mano de Ozawa y la Filarmonica de Berlin, no se queda atras. Quizas el tiempo ligeramente mas rapido de lo acostumbrado, quizas no es el mejor SACD en el mercado, pero su escucha no deja de ser altamente placentera. Recomendable.

Horrible Sound.......2007-02-17

I agree with the other reviewer who finds this recording to be horribly recorded. I agree completely -- it is THE worst SACD I've ever heard. Muddy, lacking in air and treble, with a completely muffled sound. Which makes no sense, because SACD's most touted quality is its ability to convey open, clear, and "alive" sound. I don't understand how any of the artists/engineers involved in this project could have allowed this to be released.

Brilliant!!!!.......2007-01-23

Make no mistake about it; this is a brilliant and superb pianist! During the first movement of the concerto, around 11 minutes (and some seconds in), it sounds like there are two pianist playing at once. Totally unexpected, brilliant phrasing of this well known piece by P. Tchaikovsky. A simple and complete joy to listen to. The symphony sounds marvelous; and, together with A.Volodos, this is a beautiful performance of Tchaikovsky's 1st. The last track on the CD again displays A.Volodos's ability to phrase and compose music with such beauty, ease, and simplicity (Rachmaninoff-Volodos). This recording displays performances well beyond a 5 star rating. Volodos is an incredibly sophisticated artist/composer who seems completely fluent in the language of music. Bravo!!!!!

A fine performance, but surprisingly middle-of-the-road.......2006-01-30

What made Arkady Volodos so special when he first burst upon the scene was his combination of world-class virtuosity and acute musicality. He could negotiate finger-crippling showstoppers like the Horowitz arrangement of Carmen or the Liszt Hungarian Rhapsody #2 with such ease and fluidity that only Kissin matches him among younger pianists and perhaps only Pollini among odler ones, although Pollini doesn't stoop to performing showpieces.

I expected Volodos to attack the Tchaikovsky First with great elan and fire-breathing technique, which he does, but I also wanted personality and new ideas. Lang Lang came up with both, and that's lacking here. This is a middl-eof-the-road interpretation that can't stand up to, say, Argerich or Horowitz himself. Volodos seems to want to bring this concerto back into the range of serious music, and frankly, it's a bit late for that. Ozawa leads a routine accompaniment.

The SACD sonics, as heard in two-channel CD, have impact but are somewhat cramped and congested in tuttis--not remotely the disaster suggested by the audiophile reviewer below, yet far from impressive. The best sound is found in the studio versions of mostly lightweight Rachmaninov fillers, especialy the flashy Polka italienne psraphrase concocted by Volodos--here, the piano comes across with more power than in the concerto, but I wouldn't say that there's a sonic revolution going on with this hybrid CD. Sony has done just as well for almost a decade with their normal 24-bit processing.

Splendid Pianism Sabotaged by Lousy Sound .......2004-09-29

Arcadi Volodos has everything it takes to deliver a stunning performance of the Tchaikovsky concerto, and this could have been it, but unfortunately it's not, through no fault of Volodos. This CD makes me angry--not at Volodos, who acquits himself admirably, but at Sony. If a Grammy were awarded for worst-engineered classical CD of the year, this one would be a contender: it has the worst orchestral sound I have heard from a major classical label in years. And it's all the harder to understand because Volodos's superb Rachmaninoff Third was also a live performance (June 1999) recording with the Berlin Philharmonic in the Berlin Philharmonie, just like this one (June 2002), also on Sony, and it certainly isn't afflicted with the engineering problems of this CD. (Different engineering teams recorded the two concertos.) I wonder if there is something about Sony's hybrid CD/SACD process that caused the problems (the far-better-sounding Rachmaninoff Third is not a hybrid CD/SACD disc like this one). (Let me stipulate that I'm listening on a conventional two-channel stereo CD system, not SACD, although my system is a reference-quality one. Let me also add that I am an audiophile, and that those who are indifferent to the quality of recorded sound can discount much of this review.)

Whatever the reason, the orchestral sound here is conspicuously bad. The in-house amazon.com reviewer described it euphemistically: "The forward sound is aggressive but exciting." In fact it's a lot worse than that: "hot," harsh, thick, muddy, and congested, with poor clarity and resolution of detail, with little sense of space and separation across a stereo soundstage (it seems to be clotted centerstage), and when the orchestra gets loud, the sound gets nasty, with a hard, harsh, ugly glare. We sense we're in trouble from the very beginning, with a loud opening orchestral tutti that made me wince (although the piano sounds fine). The stringed instruments have that strung-with-steel-wires hardness and metallic edge. I'm surprised Sony would release a new CD as poorly engineered as this one is. I have no fault to find with Volodos, a pianist I admire; his playing is as fluent and expressive as one could wish. (I posted a rave review of his Rachmaninoff Third.) But for me this disc is done in by the lousy sound; I can't listen to it with pleasure, and there is just no excuse for a modern piano concerto recording to sound like this. If you care about the quality of recorded orchestral sound, I'm afraid this CD is one to avoid.

As with his Rachmaninoff Third, this CD is filled out with six short pieces by Rachmaninoff, and as with that CD, these pieces are pleasant fillers of no great weight which Volodos plays handsomely. (Also as with the Rachmaninoff Third, these pieces are studio recordings and sound fine.) The real treat, however, is the seventh short piece, Volodos's own "concert paraphrase" of Rachmaninoff's Polka italienne. This one is great fun, a rip-roaring Horowitz-style virtuoso transcription which runs the gamut from fleet-fingered delicate filigree to thunder. Volodos sounds like he's having a wonderful time playing it. He is a notable transcriber as well as player of transcriptions, and anyone who liked his spectacular debut Sony CD of transcriptions is sure to enjoy this track.

There are other, nonmusical, more minor annoyances. This is the first classical CD I've ever seen that has no timings anywhere for its various tracks (not in the booklet, not on the backside of the case). Was this just a careless oversight? The total playing time, which is provided, is 54:27, short measure by today's standards, despite the makeweights. The liner notes are of the gushing, self-serving, occasionally silly kind. (Here's a sample: "Volodos is a powerhouse--a veritable one-man orchestra himself. The sheer sonority he rings [sic] from the piano is so visceral that you can feel it as well as hear it in this recording. It resonates through the body like thunder." Hmmm.) Finally, someone at Sony had the brainchild of photographing Volodos standing in an empty, abandoned warehouse, with light coming in through the dirty, streaked, broken windows. These dirty, streaked, broken windows are then used as the recurring visual motif throughout the case and booklet. There are only two problems with this choice of artwork: first, it's unappealing and ugly; second, it has nothing to do with Tchaikovsky, Rachmaninoff, Volodos, or the piano. Pointless, tasteless, irrelevant.

To sum up, Volodos deserves better than he gets in this shoddy, half-baked production. Caveat emptor--and poor show, Sony!

It's Peaceful Here - Short works for violin played by Vladimir Spivakov - Rachmaninov, Tchaikovsky, Elgar, Kreisler, etc.

Average customer rating:

It's Peaceful Here - Short works for violin played by Vladimir Spivakov - Rachmaninov, Tchaikovsky, Elgar, Kreisler, etc.
Vladimir Spivakov , Edward Elgar , Fritz Kreisler , Sergey Rachmaninov , Pyotr Il'yich Tchaikovsky , Jules Massenet , Cyril Scott , Leopold Godowsky , Franz Schubert , Antonin Dvorak , Johannes Brahms , Sergei Bezrodny , Robert Salter , and Chris West
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | 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

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000E6QM
Release Date: 1995-01-10

Tracks:

Salut d'amour/Liebesgrub Op.12
Liebesfreud
Liebesleid
Schon Rosmarin
It's Peaceful Here, Op. 21 No.7
Vocalise, Op.34 No.14
Melodie, Op.42 No.3
Valse sentimentale, Op.51, No.6
Valse scherzo, Op.34
Meditation (from Thais)
La capricieuse, Op. 17
Lotus Land, Op.47, No.1
Alt-Wien
Valse Sentimentale
Romantic Pieces, Op.75
Romantic Pieces, Op.75
Romantic Pieces, Op.75
Romantic Pieces, Op.75
2 Hungarian Dances (Nos.9 & 6)
2 Hungarian Dances (Nos.9 & 6)
Hymne zur Verherrlichung des groben Joachim

Average customer rating:

A Portrait

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Percussion | Instruments | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00004Y6RG
Release Date: 2000-10-24

Tracks:

Italian Con, BWV 971: I. Allegro - Columbia Conc Orch/Howard Barlow
Pno Con No.20 in d, K 466: I. Allegro - Columbia Conc Orch/Howard Barlow
Pno Con No.20 in d, K 466: II. Romanze - Columbia Conc Orch/Howard Barlow
Pno Con No.20 in d, K 466: III. Allegro Assai - Columbia Conc Orch/Howard Barlow
Hungarian Rhap No.13 - New York Phil/Efrem Kurtz
Pno Con No.2 in c, Op.18: II. Adagio Sostenuto - New York Phil/Efrem Kurtz
Pno Son: I. Allegro Con Moto - Teresa Sterne
Pno Son: II. Adagietto - Teresa Sterne
Pno Son: III. Allegro Vivo - Teresa Sterne
Pno Son: IV. Allegro - Teresa Sterne

Tracks:

Ov To An English Opr, Hob 1A-3 - The Little Orch Of London/Leslie Jones
Nun Freut Euch, Lieben Christen - Paul Jacobs
Herzlich Thut Mich Verlangen - Paul Jacobs
Etude, Book II - Paul Jacobs
Five Pno Pieces, Op.23: II Sehr Rasch - Paul Jacobs
Ionisation - The New Jersey Perc Ens/Raymond DesRoches
The Ragtime Dance - Joshua Rifkin
Jeanie With The Light Brown Hair - Jan DeGaetani/Gilbert Kalish
Blondel Zu Marien, D 626 - Jan DeGaetani/Gilbert Kalish
Double Con: Intro - Paul Jacobs/Gilbert Kalish
Pno Son No.2, 'Concord, Mass': III. The Alcotts - Gilbert Kalish
Wait 'Till The Sun Shines, Nellie - Joan Morris/William Bolcom
Graceful Ghost - William Bolcom
Ancient Voices Of Children: III. De Donde Vienes, Amor, Mi Nino?/IV. Todas Las Tardes En Granada... - Jan DeGaetani/Michael Dash
Nyamamusango (Meat In The Forest) - Hakurotwi Mude/Cosmas Magaya/Ephat Mujuri
Vetar Vee - Vasilka Andonova/Kremena Stancheva
Ta Shto Mi E Miloj, Mamo - Nadezhda Georgieva Klicherova/Gena Ivanova Bodenova/Nadezhda Georgieva Paleastova
Ketjak Dance - Teresa Sterne
I Big You Goodnight - Edith Pinder/Geneva Pinder/Raymond Pinder/Joseph Spence
Oyun Havasi - Teresa Sterne
Ketawang Puspawarna - Teresa Sterne

Amazon.com

The life of Teresa Sterne is as noteworthy as the label she once presided over (Nonesuch). As a child prodigy, she successfully filled world-class auditoriums in the 1940s with audiences eager to hear her piano playing. Then, inexplicably, Sterne abandoned her concert career only to resurface as the leader behind Nonesuch Records in the late 1960s, turning the budget classical label into one of the more adventurous and consistently rewarding labels around (and generally keeping quiet about her earlier fame). Half of this double-CD tribute collects recordings of a teenage Sterne at the keyboard; the second disc is devoted to some of the finest recordings from her Nonesuch tenure (1965-1979)--both are engrossing.

Tracks:

Symphony No.5: 1st Movement
Symphony No.9 'New World': 2nd Movement
Symphony No.3: 3rd Movement
Symphonie Fantastique (The March to the Scaffold)
Symphony No.9 'The Great': 3rd Movement
The Sorcerrer's Appprentice
Sheherazade: 4th Movement: Festival at Baghdad, The Sea, The Shipwreck
Slavonic Dances Op.46 No.1
Pictures At An Exhibition: A) The Hut On Fowls' Legs B) The Great Gate Of Kiev

Tracks:

Violin Concerto (3rd Movement) - Brahms
Piano Concerto No. 5 'Emperor' (3rd Movement) - Beethoven
Flute Concerto K. 313 (1st Movement) - Mozart
Piano Concerto No. 2 (3rd Movement) - Rachmaninov
Piano Concerto, No. 21 (2nd Movement) - Mozart
Members Of The Philadelphia Orchestra: Concierto d'Aranjuez (2nd Movement) - Rodrigo
The Beautiful Blue Danube - J. Strauss II
Romeo & Juliet (The Montagues And Capulets) - Prokofiev
Swan Lake (Act II Scene One) - Tchaikovsky

Tracks:

String Quartet 'Death And The Maiden' (1st Movement)
Violin Sonata 'Spring' (1st Movement)
Gymnopedie No 1.
Piano Sonata No 14. 'Moonlight' (1st Movement)
Claire du Lune
Gregorian Chant Vol. I: Introitus: 'Rorate' - Offertorium: 'Ave Maria' - Communio: 'Ecce Virgo'
Gloria: RV 589 (1st Movement: Gloria)
Messiah ('Hallelujah' Chorus)
Requiem K. 626 (Confutatis)
Mesa da Requiem (Dies Irae)
Carmina Burana: Blanziflor et Helena: 'Ave Formosissima' - Fortuna Imperatrix Mundi: 'O Fortuna'
Symphony No. 9 'Choral' (Last Movement: 'Ode to Joy')

Rachmaninov: Piano Concerto No. 3/ Solo Piano Works

Average customer rating:

Everything He's Billed Up To Be: Simply Fantastic!
A matter of taste
* * 1/2, Eh, why all the fuss?
Very Impressive
Different performers, different interpretations

Rachmaninov: Piano Concerto No. 3/ Solo Piano Works

Manufacturer: Sony
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

General | Chamber Music | Classical | Styles | 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
Similar Items:

Tchaikovsky: Piano Concerto No. 1: Rachmaninoff: Solo Piano Works [Hybrid SACD]
Mozart: Sinfonia Concertante, K364; Concerto for Violin & Piano, KAnh56 [SACD]
Volodos Plays Liszt

ASIN: B00004YC2K
Release Date: 2000-10-10

Customer Reviews:

Everything He's Billed Up To Be: Simply Fantastic!.......2005-04-21

I'm a bit surprised to have read comments from a few reviewers who accurately laud young Maestro Volodos's fantastic technique, and then go on to denigrate his piano mastery simply because Volodos doesn't play like Gilels (thank goodness for that!) or anyone else. Yes, Volodos is his own man. Comparisons to Horowitz are most apt. And yes, he is not as volcanic as Horowitz; this however does not diminish Volodos's equally wonderful performance of Rachmaninoff's Piano Concierto No. 3. If a little less volcanic, Volodos's interpretation is perhaps quite a bit more romantic, and perhaps a bit more virtuosic than Horowitz's (but yes, with modern editing wonders, one never knows how the chap really sounds. "Live" can still be "edited!"). But let me once again address negative reviewers by adding that it is NOT a crime for a masterful pianist to sound "Romantic" when he is indeed playing Romantic repertoire. Is one's appreciation or depreciation of young Maestro Volodos's pianoship a question of taste? Perhaps. But I am astounded by the "deaf ears" of listeners who should consider themselves fortunate to be listening to a truly great new young virtuoso. Comparisons to Gilels are not accurate. Volodos's musicianship is much grander and unlimited than Gilels (whose oft "typing-like" playing sounds, well, like typing). And though I admire and enjoy Kissin, Volodos's musicality and technical wizadry are much grander (not to diminish Kissin's noteworthy musical contributions!). To be sure, Volodos's name belongs alongside the truly great pianists of posterity: Josef Hoffman, Sergei Rachmaninoff, Vladimir Horowitz, William Kapell, Sviatoslav Richter, etc. (Let me add one caveat and agreement with critics of Volodos: I own all five of Volodos's CDs and must say that EACH is a masterpiece EXCEPT FOR Volodos's Tchiakovsky's Piano Concierto No. 1. Only in that recording did young Maestro Volodos fail to deliver. My guess is that Volodos's exclusive recording contract with SONY prompted him to "crank one out" much too prematurely. Such recording pressures has been the undoing of many great "should-have-been-great recordings." Of course, there is the possibility that young Maestro Volodos, however magnificent, can't play that particular Tchaikovsky Concierto. But if true, no matter! No ONE pianist has ever played EVERY SINGLE COMPOSER faultlessly. If Rachmaninoff himself couldn't play Chopin well, Volodos should be forgiven if has YET to master Tchaikovsky. But heck, he's still a kid, right? Give the chap time!) In the final analysis, to fault young Maestro Volodos's wonderful unique interpretation of Rachmaninoff's is beyond unfair. It's irresponsibly inept and unworthy of anyone but a sorely untalented dilettante. We should rejoice that we have amongst us now a pianist who can truly mature into a legendary pianist without technical or musical limitations! :)

A matter of taste.......2004-11-21

What makes a performance of Rachmaninov's third great? First, you need a pianist that can play the notes correctly and is still able to think. A lot of pianists are able. Second, the orchestra, conductor and pianist must share the same view on the piece and be a good match. Not too many recordings remain. Third, the sound of the recording nust be at least good. This disc offers all that. So why not 5 stars? Simply put, it's a question of taste. Timing, accents, dynamics; only you can be the judge. The only way to find out is listen for yourself. There's not a bad note on this disc. The multichannel sound fills the room nicely and is mixed reasonably good. To me, it lacks subtility. Changes in dynamics are too abrupt. Still my favorite version; the Pletnev recording with Rostropovich (Deutsche Gramophon). Finally, I'd like to mention that live recordings always give more than you asked for; arythmical coughing.

* * 1/2, Eh, why all the fuss?.......2004-09-29

It comes, as did Martha Argerich's CD, with a sticker on the front proclaiming this to be "one of the greatest Rachmaninoff 3rds of all time." (Martha's was billed as "The Ultimate Rachmaninoff 3rd," and it was stuck directly onto the plastic case, requiring me to soak it in warm water for hours to get the glue residue off.) Inside, a young Arcadi Volodos and an aging James Levine (with "white guy" 'fro) join forces. Like Argerich, this leaves a good bit to be desired, but it's largely for the opposite reason; it's too sedate, while hers was too coiled and manic.

This isn't a *bad* CD, but it's nothing special, and from all the raves and hype I'd set the bar really high. Volodos plays all the notes, but I don't get any special view into the music, and the whole performance is suffused with a bland "sameness." (Color? What color? You want to hear color, listen to Horowitz; that's color.) There's no sense we're moving towards a climax in any of the movements, a sense or architecture. A great interpretor, be he an actor, musician, comedian, knows where he is in his art at all times and is building towards the end from the first minute. I don't get this here; rather, I get someone playing the notes, one after another after another. And Volodos tries to be a bit overly-dramatic in some of the "big" moments that call for large-scale phrasing and arched phrases, yet the whole effort adds up to little real drama, little fire, little excitement. It's all too studied. It's as though he's tossing his hair all about, to little effect. People who think this CD is exciting need to hear more pianists, especially older ones, who had the real vocanic excitement these kids today lack, despite their sterling technique.

Even the big moment just before the finale's last climax, where the violins drum their bows against the strings as the piano makes ascending grunts, comes off flat. And the violins sound like a snare drum here! That leads me to another problem: the sound overall is fine if a bit overly upholstered, but the fortissimos are unnaturally loud, with cymbals and bass druim crashes that make you think all the mikes were placed in the orchestra's percussion section. It may show off impressive sound systems, but no concert experience is like this, nor can one be. Is this the classical equivalent of THX sound? No thanks. Despite all the banging and booming, the Berlin Philharmonic in general plays on autopilot. I don't hear any real chemistry between them and Levine, who often is very fine in works like this.

Unfortunately, the best Rach 3 I've ever heard comes in an expensive multi-disc set of Leonard Bernstein live recordings. It features Lazaar Berman with Lenny and the NYPO from, if memory serves, the late 50s. While the sound is not as impressive as today's DDD efforts, the playing builds, phrases have rhyme and reason and aren't just slooow hammy arpeggios and loud pedal notes. Horowitz/Reiner also has many great moments, though like a lot of Horowitz it can be uneven. Ashkenazy/Previn turned in a nice effort in the 1970s. And of course there's always Sergei's own wonderful, rather un-Romantic account, recording in 1940 with the Philadelphia Orchestra. As the great Gyorgy Sandor once said in an interview, Rachmaninoff recorded all his own concerti--fortunately; and pianists today rarely listen to these recordings--unfortunately. I'm not saying that Volli should *copy* Rachmaninoff, but I will say he could learn a few things about economy of expression, how to make a lot with a little, how you don't need to musically toss your hair back and forth to make a dramatic reading, that you should figure out what your one key moment is in each movement and save your hair for that. The other pieces on the CD are played adequately, but again, he doesn't seem to have anything to say with them; they could be by anyone giving his first recital. If Volodos is going to be The Next Great Thing, he's got to come across with more than this. For sheer excitement among the Pepsi generation, I'll keep listening to Pogorelich, thank you.

Very Impressive.......2002-12-09

Having been treated to many versions of the "Rach III" I can honestly say that this recording is by far the best "live" performance to date. Mr Volodos' mastery of this most technically difficult of the Rachmaninov concertos is clear.
I was more than pleased with the orchestral accompaniment as well and to be quite candid, had there not been the characteristic audience noises at the beginning, during and of course the enormous response at the conclusion of this performance I would have been convinced quite easily that it was a studio recording. My advice as an accomplished pianist myself is to buy this recording. It is a must have if you enjoy the romantics.

Different performers, different interpretations.......2002-03-25

Sometimes, we classical afficionados can be a rather snobbish bunch ... if an artist currently being hyped in the media performs a warhorse recording, we really love to trash him. That's possibly why a previous reviewer totally trashed this wonderful performance. It's totally undeserved -- and The New York Times, Gramophone and The Sunday Times would agree this is an intepretation to be reckoned with. I've got three different recordings of the Rachimonoff Third in my CD collection -- Horowitz and Ormandy in the late 70s, Kissin and Volodos. Each has his own take on the concerto, each gives a totally different performance and each is completely enjoyable. As a teen-ager, I remember seeing Horowitz and Ormandy live on NBC one Sunday afternoon -- it was that performance that played a big role in turning me into a classical records (later CD) collecting nut. Get the recording -- you'll enjoy it, and explore the rest of the repetoire for some really interesting takes on this composition.

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Collection of Piano Music, Vol. 2

Manufacturer: Celestial Harmonies
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Airs | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | New Age | Styles | Music

Meditation | New Age | Styles | Music
ASIN: B00000080G
Release Date: 1991-10-16

Tracks:

Arietta No. 1 Op. 12
Intermezzo No. 1 in E Flat Major Op. 117
Consolation No. 4
English Suite No. 2 in a Minor BWV 807: Sarabande
Der Muller und Der Bach
Romance No. 2 Op. 28
Escenas Romanticas: Epilogo
Annees de Pelerinage: Au Lac de Wallenstadt
Italian Concerto in F Major BWV 971: Arioso
Prelude No. 6 in B Minor Op. 28
Consolation No. 1
Symphony No. 6 in F Major Op. 68: Szene Am Bach: Andante Molto Moto
Piano Sonata No. 17 in D Minor ("Tempest") Op. 31/: Adagio
Piano Sonata No. 31 in a Flat Major, Op. 110
Symphony No. 9 in D Minor Op. 125: Adagio Molto E Cantabile

Tracks:

Bagatelles (6) For Piano, Op. 126, No. 3 in E Flat
Nocturne in B Flat Minor Op. 9 No. 1
Intermezzo in B Flat Minor Op. 117 No. 2
Sonata in B Flat Major D 960: Andante Sostenuto
Nocturne in E Minor Op. 72 No. 1
Intermezzo in B Minor Op. 119 No. 1
Sonata No. 1 Op. 6: Second Movement
Preludes, Book 1 No. 8
Gymnopedie No. 1
Miroirs, For Piano (Or Orchestra): La Vallde Cloches
Guirlandes Op. 73 No. 1
Prelude in G Flat Major Op. 23 No. 10
4eme Nocturne
Fragilite Op. 51 No. 1
Vingt Regards Sur l'Enfant Jesus
Elegie
Gnossienne No. 4

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Encores 2

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

Improvisation | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

Marches | Miscellaneous | Styles | Music
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The Essential Emma Johnson

ASIN: B0000030V6
Release Date: 1994-10-25

Tracks:

Scaramouche - Ste: First Movt: Vif
Scaramouche - Ste: Second Movt: Modere
Scaramouche - Ste: Third Movt: Brazileira
Solfeggietto
Gavotte
Vocalise, Op.34/14
Liebesleid
Syncopation
Pocket-Size Son No.1: First Movt: Improvisation
Pocket-Size Son No.1: Second Movt: Modal Blues
Pocket-Size Son No.1: Third Movt: In Rhythm
Vars On A Hungarian Folk Tune
Sometimes I Feel Like A Motherless Child
Walking In The Air
Valdemosa
Gymnopedie No.1
Gymnopedie No.2
Gymnopedie No.3
Hillandale Waltzes: Tempo Di Valse. Con Garbo
Hillandale Waltzes: No.1 Valse Elegante
Hillandale Waltzes: No.2 Valse Passionee
Hillandale Waltzes: No.3 Valse Sombre
Hillandale Waltzes: No.4 Valse Volante
Hillandale Waltzes: No.5 Valse Triste
Hillandale Waltzes: No.6 Valse De Bonne Humeur
Hillandale Waltzes: No.7 Valse Brillante Et Joyeuse
Hillandale Waltzes: No.8 Valse Oubliee

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Cost-conscious classics for the frugal consumer!

Piano by Candlelight Favorites

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Easy Listening | Pop | Styles | Music

Classical | Box Sets | Stores | Music

A Day to Remember - Instrumental Music for Your Wedding Day
25 Wedding Favorites
Piano Favorites
Classical Wedding

ASIN: B000000LP8
Release Date: 1996-12-03

Tracks:

Serenade ' A Little Night Music ': Allegro
Prelude in C sharp minor op. 3-2
Canon in D major
The Planets: Venus
A Midsummer Night's Dream: Wedding March
Nutcracker Suite: Flower Waltz
La Traviata: Overture
The Rite Of Spring: The Adoration of the Earth (Beginning)
Peer Gynt-Suite: Solveig's Air
Bolero (short version)
The Four Seasons: Spring: Allegro - Largo - Allegro

Tracks:

Sonata No. 8, op. 13 in C Minor 'Pathetique': Grave - Allegro di molto
Sonata No. 8, op. 13 in C Minor 'Pathetique': Adagio Cantabile
Sonata No. 8, op. 13 in C Minor 'Pathetique': Rondo: Allegro
Clair de Lune
Hungarian Rhapsody No. 11
Sonata No. 14 op. 27-2 in C Sharp Minor 'Moonlight': Adagio sostenuto
PIANO CONCERTO NO. 1 OP. 23: Allegro ma non troppo

Tracks:

Piano Concerto No. 26 in D minor K537 'Coronation': Larghetto
For Elise: Bagatelle in A minor Wwo 59
Hugarian Rhapsody in C sharp minor
Grande Valse Brillante: Valse in E flat major op. 18
Prelude op. 28-15 'Raindrops' in D flat major
Sonata No. 16 In C Major K545 'Sonata Facile': Allegro
Rondo Alla Turca: Allegretto K 33 1-3
Fantasy op. 73 - Tender and with expression
The Rustle of Spring op. 32-3
Piano Concerto No. 24 K 491 in C minor: Allegro
Piano Concerto No. 21 'Elvira Madigan': Andante
Concerto For Piano And Orchestra No. 1 In B Flat Major Op. 23: Allegro con fuoco
Love Dream No. 3 in A flat major (piano solo)
Piano Pieces Moment Musical No. 3 D780: 'Air Russe' in F minor Scherzo No. 1 D593
Piano Pieces Moment Musical No. 3 D780: in B flat major
Nocturnes: Op. 9 No. 2 in E flat major

Customer Reviews:

Cost-conscious classics for the frugal consumer!.......2005-05-27

Wanna start with a "grab-bag" of familiar classical themes? Then, this box set is for you. Chocked full of selections that are known by the novice, as well as the experienced, "Piano by Candlelight Favorites" is a very good beginning set.

With the seemingly unfortunate demise of classical labels in the music industry, it is hoped that such compilations as this one might cause an upheaval in interest in the much-respected musical genre.

And with the dollar buying less than it did in the past, this presentation offers much value for the buck.