Rachmaninov: Piano Concertos 1 & 4 (Original Versions)

On this CD:

1. Piano Concerto No. 1 in F sharp minor, Op. 1
Composed by Sergey Rachmaninov
Performed by Helsinki Philharmonic Orchestra with Alexander Guindin
Conducted by Vladimir Ashkenazy

2. Piano Concerto No. 4 in G minor, Op. 40
Composed by Sergey Rachmaninov
Performed by Helsinki Philharmonic Orchestra with Alexander Guindin
Conducted by Vladimir Ashkenazy

Tracks:

Piano Concerto No. 1 In F Sharp Minor, Op.1: I Vivace
Piano Concerto No. 1 In F Sharp Minor, Op.1: II Andante
Piano Concerto No. 1 In F Sharp Minor, Op.1: III Allegro vivace
Piano Concerto No. 2 in C Minor, Op.18: I Moderato
Piano Concerto No. 2 in C Minor, Op.18: II Adagio sostenuto
Piano Concerto No. 2 in C Minor, Op.18: III Allegro scherzando

Tracks:

Piano Concerto No.3 In D Minor, Op.30: I Allegro ma non tanto
Piano Concerto No.3 In D Minor, Op.30: II Intermezzo: Adagio
Piano Concerto No.3 In D Minor, Op.30: III Finale (Alla breve)
Piano Concerto No.4 In D Minor, Op.40: I Allegro vivace (Alla breve)
Piano Concerto No.4 In D Minor, Op.40: II Largo
Piano Concerto No.4 In D Minor, Op.40: III Allegro vivace

Customer Reviews:

This is the one to buy!.......2007-06-13

A number of years ago, I went to the Classical Record Store in Toronto to acquire a copy of Rachmaninov's Piano Concertos. Like many others, I'd been introduced to Rachmaninov's 3rd Piano Concerto by the movie "Shine". When I asked the resident musicologist for Rach 3, she rolled her eyes. I explained that I wasn't remotely interested in the commercial David Helfgott version. I wanted the definitive version. She smiled knowingly and took me to a shelf. This is the version she handed me. Buy it. You won't be disappointed! Ashkenazy is at the peak of his powers and Previn does a phenomenal job with the London Symphony. It doesn't get any better than this.

An easy first choice.......2006-06-12

If you are looking for a standard stereo recording of the four concertoes, you don't have to look hard to realize that this set would be a nice and easy choice. Ashkenazy's performances of the Rachmaninov concertos are poetic, full of passions and yearnings, and technically excellent. This 2CD set is sold at the price of one full-priced CD, so it should be a good bargain. If you are a newcomer to Rachmaninov, this set is highly recommended. Later on when you have become familiar with these concertos you might also want to check out the renditions by Argerich and Horowitz, both of which contain some of the most spectacular displays of keyboard fireworks. These recordings by Ashkenazy have been reissued many times and the most recent one I believe is the 2 separate disks in the Eloquence series. Sonically the Eloquence reissues were artificially reprocessed in order to create wider dynamics and better sense of immediacy. Get either this one or the other, it doesn't matter which, what matters is that every Rachmaninov lover should have these recordings as basic items in his/her collection.

The champion of Rachmaninov's music........2005-12-25

This is a very good set of Rachmaninov's piano works for a very reasonable price indeed. For those who are unfamiliar with the great russian composer's piano works, from the blazing horns, swelling piano chords and seductive strings opening the first piano concerto you feel right away you're in for a very special musical experience.

Normally, when you know and appreciate what a musician has created throughout his career, there's almost always one piece of work that stands out or that you like more than the others. When it comes to Rachmaninov's piano works, mine would certainly be the Piano Concerto no 3, one of the most beautiful piano works that were ever written, and also the Concerto no 4. There's a certain nostalgia about this latter work, like feelings about a past gone forever, and you can feel this leitmotiv during the whole concerto. Maybe the fact that Rachmaninov wrote this wonderful concerto after having moved permanently to the US and therefore feeling homesick has something to do with it.

As for Mr Ashkenazy, he simply is the best interpreter when it comes to Rachmaninov's piano works. The great Vladimir is temperate rather than romantic, cool and constantly in control: sometimes he seems pouring out rivers of emotions and passion without getting carried away though. He has the musicality and intelligence to understand exactly how these concertos work. He has phenomenal technique, original approach, and his touch is quite fiery at times, gentle and tender at others. He can be poetic and passionate when he needs to.

In Rachmaninov's piano concertos the orchestra plays a vital role, often playing the main theme melodies while the piano accompanies, which is rather unusual. In this regard, the London Symphonic Orchestra and conductor A. Prévin are one of the best. Couple this with Rachmaninov's music and Ashkenazy's interpretation, and you're in for a very special musical treat indeed.

Thoughtful but passionate interpretations.......2005-07-09

After listening to a recording of Rachmaninoff's 2nd concerto and hearing a lot about the 3rd concerto, I jumped at buying this CD because of the low cost for two CDs - I was not disappointed.

For me the highlight by far is the third piano concerto, where Ashkenazy seems to pour out passion without getting carried away. This recording I much prefer to Argerich's recording (passionate, but little restraint and thought put into that performance) and even Horowitz's (although this may be because of it's worse sound quality). The first movement is played slower than most other performances, but is filled with passion and technical mastery. I am starting to learn this concerto and know how difficult it is! I was glad to see that Ashkenazy used the longer, chordal codenza rather than the shorter one used by Horowitz and Argerich (those are the only other recordings I've heard) with I much prefer.

The first and fourth concertos are also fabulously played but for me they don't compare to the third. The second concerto, however, was a little bit of a disappointment for me (not enough for me to give the discs 4 stars, however). Because I have already learned this concerto, I'm probably quicker to find faults with Ashkenazy's playing here. If I could put my finger on what I don't like about it it would be the balance between the piano and orchestra - you can hardly hear the piano at some of the most difficult sections. Still, the orchestra sounds beautiful and so does the piano when you can hear it.

Since listening to this disc Ashkenazy has quickly become one of my favorite pianists - as has Levine as a conductor. I would heartily recommend this CD for anyone, but especially for anyone who ever aspires to play any of these pieces - all four of the are beautiful and these performances are well thought-out and powerful.

Very good.......2005-03-18

These performances are wonderful, and to those who think otherwise, I do not really know another complete set that has performances as good as this. Ashkenazy is, as usual, amazing, and this particular set of the many Ashkenazy/Previn Rachmaninov Concertos sets is often called definitive. The sound quality is pretty good. Highly recommended.
By the way, Vladimir Ashkenazy holds the position of President of the Rachmaninov Society, which makes this set a no brainer.

Rachmaninoff: Piano Concertos Nos. 2 & 3

Average customer rating:

my ears don't lie do they?
Classic!
A very special gifted pianist!
Beautiful recording
A terrific trip back into the Mercury Living Presence vaults

Rachmaninoff: Piano Concertos Nos. 2 & 3

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Liszt: The Two Piano Concertos; The Piano Sonata
Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116
Tchaikovsky: 1812 Overture/Capriccio Italien/Beethoven: Wellington's Victory
Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

ASIN: B0000057LA
Release Date: 1991-11-08

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:

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....

A terrific trip back into the Mercury Living Presence vaults.......2004-12-31

For those already having SACD playback capabilities, or contemplating purchase of a SACD deck, this Byron Janis/Antal Dorati recording of Rachmaninoff's 2nd and 3rd Piano Concertos (and two Preludes for piano) has been newly released in hybrid SACD form. Below are my comments on the SACD release, covering both the SACD layer and the "redbook" CD layer. Those with (or contemplating) SACD capabilites will want to check this new release (ASIN B0000DC15K) out; the sound quality is simply stunning; a knock-out!

--------------------------------------------------------------

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 Open 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 Wilma Cozart Fine had done in transferring the master tapes to the CD medium in the last decade. But it is the SACD layer that is truly stunning, with woodwinds having a nice sense of "air" around them, silky strings (even when played fortissimo) and cymbal transients (at the end of the Rachmaninoff 3rd) that do not go into "overload" distortion. 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, Tchaikovsky: Piano Concertos / Richter

Average customer rating:

Great performance, poor remastering
Eloquence with hands of steel and a heart of fire
A performance that will live as long as recorded music
Idyosincratic Tchaikovsky , enigmatic Rachmaninov!
POWER

Rachmaninov, Tchaikovsky: Piano Concertos / Richter

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Schumann: Piano Concerto / Sviatoslav Richter
Brahms: Concerto No.2/Beethoven: Sonata No.23
Liszt: The Two Piano Concertos; The Piano Sonata
The Sofia Recital 1958
Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23

ASIN: B000001GQD
Release Date: 1996-02-13

Tracks:

Concerto for Piano and Orchestra No. 2 in C Minor: 1. Moderato
Concerto for Piano and Orchestra No. 2 in C Minor: 2. Adagio sostenuto
Concerto for Piano and Orchestra No. 2 in C Minor: 3. Allegro scherzando
Concerto for Piano and Orchestra No. 1 in B Flat Minor: 1. Allegro non troppo e molto maestoso - Allegro con spirito
Concerto for Piano and Orchestra No. 1 in B Flat Minor: 2. Andantino semplice - Prestissimo -Tempo I
Concerto for Piano and Orchestra No. 1 in B Flat Minor: 3. Allegro con fuoco

Amazon.com essential recording

Although the late Sviatoslav Richter spent his later years concentrating on Bach, Beethoven, and Haydn, he never completely abandoned the music of his native country. His reading of Rachmaninov's most popular concerto, captured in fine late-'50s stereo, is one of the most glorious ever recorded. Richter's amazing technique is completely up to the demands of Rachmaninov's difficult writing, and he plays the heart-on-sleeve melodies with such refined intensity that they never sound sentimental. This performance is a truly amazing example of great pianism, very strongly supported by the fine orchestra and its little-known conductor. Unfortunately, the accompanying Tchaikovsky is a dud. Karajan and Richter recorded this work together as a favor to a record-company executive, but they don't seem to be in sympathy. The conductor's excessive refinement holds the pianist back, and the result is much too restrained for the music. Never mind. The Rachmaninov alone is easily worth the price of this disc. --Leslie Gerber

Customer Reviews:

Great performance, poor remastering.......2007-02-19

Previous reviews extoll the virtues of Richter's performance, and indeed it is magnificent. Unfortunately, the remastering of this recording did not produce a quality result. The dynamics are poor, resulting in fuzzy strings, and horns and a less than vibrant sound from Richter's piano. There is no sense of "presence". This is a valuable recording for those with two or more copies of the Rach 2, who want this one as a historic performance or for collectors of Richter. If this is your first copy and you have a decent sound system, steer clear.

Eloquence with hands of steel and a heart of fire.......2006-07-09

Richter's work has long been a benchmark in the library of piano virtuosity, but in these two selections, he has transcended normal experience. For an artist to insert himself into the world of music on such a grand scale is to take great risks, and that is exactly what he has done. I believe that at a point, Richter and the music become one and the same. It is as though he were fused to each note. The result is a performance that is both flawless and yet, warm, sonorous and full. There is nothing that he has left out. He is an artist for the ages, and we are richer for his presence at the keyboard.

A performance that will live as long as recorded music.......2006-01-19

There is nearly unanimous consensus that Richter's 1959 recording of the Rachmaninov 2nd rises to a height challenged only by the composer himself. Richter's ability to play the fastest passagework while moving from soft to loud and back again is breathtaking--speed doesn't change his control over dynamics one bit. But that's to pick out a single aspect of a performance that is by turns noble, lyrical, passionate, and poetic. One could spend the whole performance marveling just at the independence of Richter's two hands. He rescues this thrice-familiar work from its fulsome reputation. Rowicki conducts well, but the recorded sound is thin, and the Warsaw Phil. decidedly provincial. None of which matters a bit.

Reviewers here echo the Amazon critic in disparaging the Tchaikovsky First from 1963, although it is in better sound than the Rchmaninov and played better by the orchestra, too--Karajan had a special relationship with the Vienna Sym., a sorry ensemble under most conductors. I like this performance a great deal. Richter isn't highly individual--he plays for strength and dignity in the first movement, not for Horowitz's burn-down-the-house virtuosity, and in the last movement he applies restrained delicacy. Since the Tchaikovsky First is the deadest of dead horses to me, I liked hearing such thoughtful musicality. As for Richter and Karajan being on different pages, they sound together to me. Taste, what can you say? Five stars for both performances.

Idyosincratic Tchaikovsky , enigmatic Rachmaninov!.......2004-08-17

The Tchaikovsky piano concerto was approached for Richter as a imperial concert and not as a simple introspective and romantic work .
This idea is extremely remarkable since you muts notice the fact the three first symphonies are deeply imperials , epic and surrounded for the epic majesty and russian pride .
But since the four till the sixth , the conception changes completely . We see the man and his inner sorrows and his fears.
In this sense the most of the western pianist play Tchaikovsky , as the wounded man tired due his personal tragedy .
Richter turns around the clock and reveals Tchaikovsky with the same spirit that we know in his first Symphny , radian and filled with vitality and fierce.
The slow tempo does not mean a rendition but a clever statement about a transition between the youth and the mature age . Karajan in this sense did not make any special contributtion in this case . He respected Richter and knew about his special rapport for Tchaikovsky . I mean you will feel the required histamina in the last bars but as a natural consequence of the musical language and not a simple firework exercise.
In the case of Rachmaninov , Richter keeps the romantic mood , and he avoids the excesive self indulgence so typical of Rachmaninov .
The emphasis turns around another levels , such as the epic nosthalgy for the land he will never see again and obviosuly the hidden homagge to his beloved friend the hypnotist doctor Dahl who rescued him from the alcohol hell .
Rowicki was one of the best polish conductors in any age . He understood perfectly this rapture feeling and the key was simply overwhelming .
Fundamental issue in your personal collection.

POWER.......2004-05-20

Richter's performance on this cd reminds me very much of Rush's 2112 album. You are captivated from the moment you hit play, and you are taken on a journey. But by the end, you realize that every time you will pay it another visit, you will discover a whole new world of aesthetics that you had no prior perception of. Not just compositionally, but the same goes for what Richter's soul has to say. It's like getting two stories in one! This may initially sound ironic, given that his devilishly careful, almost brooding pacing, finds many listeners opting for Ashkenazy's spin. However, for me, the more thoughtful ... a performance is, the more intricacies there are to be found. When you listen to Rush, you barely get anything from the first listen... but you just KNOW that there IS an eternity of SOMETHING to be gathered, if you listen over and over again. So, in either case, you become strangely obsessed and fixated, drawn to listen just one more time. I suppose to really go out there, I will compare Richter to an artistic bag of potato chips. You must just keep going. That's not to say you get nothing from the first listen! Indeed, those familiar with the concerto and/or Richter will be blown away, regardless. But with every chord of the 1st movement of the Rach 2nd, you sense a world of unspoken stories, meaning, content! Warning, though - if you don't like being analytical, this isn't the recording for you. People complain of orchestral faults, injections of political issues, etc. etc.... but what captivates me every time I listen to Richter, is how superb he is at upping the ante for the utopian combination of brains and emotion. ... The same is to be said for the Tchaikovsky. Whatever stressors surround the nature of the recording, a true musician puts it all aside (OR uses it as fuel to the fire!) and performs a miracle at the piano. If you are openminded, buy this - you won't be disappointed. Rather,... you'll become addicted.

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
Rachmaninoff plays Rachmaninoff
Sergei Rachmaninoff: Greatest Hits
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 [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]
Bach: The Four Great Toccatas and Fugues [SACD]
Rimsky-Korsakov: Scheherazade; Stravinsky: Song of the Nightingale [Hybrid SACD]
Mussorgsky: Pictures at an Exhibition, A Night on Bald Mountain, and Other Russian Showpieces [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

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

Average customer rating:

Ashkenazy - one of the best musicians of our time
Illustrious Dark
Ashkenazy's fluidity: a very good fit with Rachmaninov
My Favorite Rachmaninov Interpreter
Superb set of Rachmaninov's complete Piano works

Rachmaninov: The Piano Concertos

Manufacturer: Decca
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

Classical | Box Sets | Stores | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Rachmaninov: The Symphonies
Liszt: Piano Works
Chopin: The Piano Works
Brahms: Works for Solo Piano
Mozart: The Piano Concertos

ASIN: B0000041ML
Release Date: 1997-08-12

Tracks:

Piano Concerto No. 1 In F Sharp Minor, Op. 1: I. Vivace - S. Rachmaninoff
Piano Concerto No. 1 In F Sharp Minor, Op. 1: II. Andante - S. Rachmaninoff
Piano Concerto No. 1 In F Sharp Minor, Op. 1: III. Allegro vivace - S. Rachmaninoff
Piano Concerto No. 2 In C Minor, Op. 18: I. Moderato - S. Rachmaninoff
Piano Concerto No. 2 In C Minor, Op. 18: II. Adagio sostenuto - S. Rachmaninoff
Piano Concerto No. 2 In C Minor, Op. 18: III. Allegro scherzando - S. Rachmaninoff

Tracks:

Piano Concerto No. 3 In D Minor, Op. 30: Allegro ma non tanto - S. Rachmaninoff
Piano Concerto No. 3 In D Minor, Op. 30: Intermezzo: Adagio - S. Rachmaninoff
Piano Concerto No. 3 In D Minor, Op. 30: Finale (Alla breve) - S. Rachmaninoff
Piano Concerto No. 4 In G Minor, Op. 40: Allegro vivace (Alla breve) - S. Rachmaninoff
Piano Concerto No. 4 In G Minor, Op. 40: Largo - S. Rachmaninoff
Piano Concerto No. 4 In G Minor, Op. 40: Allegro vivace - S. Rachmaninoff

Tracks:

Rhapsody On A Theme Of Paganini: Op. 43 - Rachmaninov
Piano Sonato No. 2 in B Flat Minor, Op. 36: I. Allegro agitato - Rachmaninov
Piano Sonato No. 2 in B Flat Minor, Op. 36: II. Non allegro - Rachmaninov
Piano Sonato No. 2 in B Flat Minor, Op. 36: III. Allegro molto - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 1 in F minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 2 in C major - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 3 in C minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 4 in D minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 5 in E flat minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 6 in E flat major - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 7 in G minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 8 in C sharp minor - Rachmaninov
Prelude in C sharp minor, Op. 3, No. 2 - Rachmaninov

Tracks:

10 Preludes, Op. 23: No. 1 In F Sharp Minor - Rachmaninov
10 Preludes, Op. 23: No. 2 In B Flat Major - Rachmaninov
10 Preludes, Op. 23: No. 3 in D minor - Rachmaninov
10 Preludes, Op. 23: No. 4 In D Major - Rachmaninov
10 Preludes, Op. 23: No. 5 In G Minor - Rachmaninov
10 Preludes, Op. 23: No. 6 In E Flat Major - Rachmaninov
10 Preludes, Op. 23: No. 7 In C Minor - Rachmaninov
10 Preludes, Op. 23: No. 8 In A Flat Major - Rachmaninov
10 Preludes, Op. 23: No. 9 In E Flat Minor - Rachmaninov
10 Preludes, Op. 23: No. 10 In G Flat Major - Rachmaninov
13 Preludes, Op. 32: No. 1 In C Major - Rachmaninov
13 Preludes, Op. 32: No. 2 In B Flat Minor - Rachmaninov
13 Preludes, Op. 32: No. 3 In E Major - Rachmaninov
13 Preludes, Op. 32: No. 4 In E Minor - Rachmaninov
13 Preludes, Op. 32: No. 5 In G Major - Rachmaninov
13 Preludes, Op. 32: No. 6 In F Minor - Rachmaninov
13 Preludes, Op. 32: No. 7 In F Major - Rachmaninov
13 Preludes, Op. 32: No. 8 In A Minor - Rachmaninov
13 Preludes, Op. 32: No. 9 In A Major - Rachmaninov
13 Preludes, Op. 32: No. 10 In B Minor - Rachmaninov
13 Preludes, Op. 32: No. 11 In B Major - Rachmaninov
13 Preludes, Op. 32: No. 12 In G Sharp Minor - Rachmaninov
13 Preludes, Op. 32: No. 13 In D Flat Major - Rachmaninov

Tracks:

Suite No. 1 for 2 pianos, Op. 5: I. Barcarolle: Allegretto - Rachmaninov
Suite No. 1 for 2 pianos, Op. 5: II. La Nuit, l'Amour: Adagio sostenuto - Rachmaninov
Suite No. 1 for 2 pianos, Op. 5: III. Les Larmes: Largo di molto - Rachmaninov
Suite No. 1 for 2 pianos, Op. 5: IV. Paques: Allegro maestoso - Rachmaninov
Suite No. 2, for 2 pianos, Op. 17: I. Introduction: Alla marcia - Rachmaninov
Suite No. 2, for 2 pianos, Op. 17: II. Valse: Presto - Rachmaninov
Suite No. 2, for 2 pianos, Op. 17: III. Romance: Andantino - Rachmaninov
Suite No. 2, for 2 pianos, Op. 17: IV. Tarantelle - Rachmaninov
Russian Rhapsody for 2 pianos in E minor: Moderato - Vivace - Andante - Rachmaninov
Variations on a theme by Corelli, Op. 42 - Rachmaninov

Tracks:

9 Etudes-tableaux, Op. 39: No 1 In C minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 2 In A minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 3 In F Sharp Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 4 In B Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 5 In E Flat Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 6 In A Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 7 In C Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 8 In D Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 9 In D Major - S. Rachmaninoff
Symphonic Dances for 2 pianos, Op. 45: I. Non allegro - Lento - Tempo I - S. Rachmaninoff
Symphonic Dances for 2 pianos, Op. 45: II. Andante con moto (Tempo di valse) - S. Rachmaninoff
Symphonic Dances for 2 pianos, Op. 45: III. Lento assai - Allegro vivace - S. Rachmaninoff

Customer Reviews:

Ashkenazy - one of the best musicians of our time.......2005-11-21

I consider Ashkenazy to be one of the most underrated pianists. Since he has this unmarketable father figure image in the piano world many people put him in the backburner of their recollections. First of all, anyone with such a prolific repertoire as Ashkenazy falls under the category of "genius" (Richter was also strong in this area). A pianist, in general, has much more credibility if he/she can tackle a variety of different pieces and styles. Many people assume by default that because he splits his time conducting and plays so much different music... that he is a jack of all trades but master of none.
One of the distinct attributes that Ashkenazy has is his amazing intelligence (this links him to Richter). Unlike Gould and Poglerelich who seem eccentric in a childish way at times, Ashkenazy has a very deep understanding of music and its foundations. He understand the composers styles and dynamics. This really sets him aside from many other pianists. I was pleasantly surprised by this Rachmaninoff. It is very flowing and the orchestra is great (better than in the Richter CD in my opinion). There is a feeling that this music is always going in the right direction. Ashkenazy also doesn't fall in the trap of playing Rach Chopin-style. I like the Richter CD better because I like Richter's temperament... but this is an excellent set for those that might find Richter overwhelming.

Illustrious Dark.......2005-03-19

The pianistic genius of Rachmaninov and his spirit incarnate: Vladimir Ashkenazy. If you have ever heard Rachmaninov play his own music, you probably pondered the impressive talent. But where his personal strengths lay in composition, his performances were a little too eccentric for me. For example, his renditions of militaristic Prelude No. 5 in G minor is a soft, cautious approach; his piano concerto no. 2 played so quickly, there is no time to enjoy each note.

Enter Ashkenazy. He plays that prelude with solid force and quick, snapping fingers, and thunderous chords, climaxing into those beautiful rolling hills...it is played beautifully. And of course, the piano concerto is slowed down to the proper tempo. (Incidentally, I find this concerto has some parts that are played too quickly, thereby losing a sense of largeness to some themes. In later recordings, Jean-Yves Thibaudet performed the concerto exactly to my tastes, and the orchestra was conducted, impressively, by Mr. Ashkenazy himself!)

For the piano enthusiast, this collection is nearly complete. The first three piano concertos are amazing. I grew up with Nos. 3 and then 2, and after a decade of waiting, finally listened to No. 1, which I hold in as high esteem as the later concertos. No. 4 is extremely modern, and I listen to it to let it grow on me, but I will always have a difficult time with this one. It's simply too influenced by his short Hollywood career, I feel. While it stands on its own, compared to the previous three, I tend to skip it.

I've heard Ashkenazy's recordings of the preludes before, but it was nice to finally own them. What can one say? Rachmaninov's forte was the prelude. Nowhere else can you hear chimes and bells with dark Russian themes underlying complex chord structures that scintillate or thunder.

New to me were the two Suites for 2 pianos. While much of it is a bit modern and avant-garde for my tastes, I enjoy them all the same.

For the price, you're getting quite a bargain, though. And if you don't care about the solo piano tracks, London has another release with only the four piano concertos.

Ashkenazy's fluidity: a very good fit with Rachmaninov.......2004-12-09

This boxed set contains the four piano concertos, along with the entire library of pieces for two pianos, and a good selection of Rachmaninov's major works for solo piano.

Packaged in an elegant Decca slimbox, the 6 CDs are simply a pure joy to listen to. Ashkenazy does not delivery the wildest version of the concertos, or the most passionate or energetic. What he delivers is an incredible legato and incomparable touch, with just the right amount of power when necessary. Previn's conducting is a very good fit with Ashkenazy's sobre and elegant interpretation.

Listen to "Les Larmes" - French for "The Tears" - and appreciate Ashkenazy and Previn's rendering of one of Rachmaninov's most emotional pieces.

This boxed set is, in my opinion, the best Rachmaninov package currently available. The sound quality is very good, and it contains a large selection of piano works by one of the world's finest interpreters.

My Favorite Rachmaninov Interpreter.......2003-04-06

while i dont have this particular set, i have most of ashkanazy's recordings via other the sets hes made, im assuming these are the same recordings. these are some of my favorite piano works ive ever heard in large part due to his interpretations of this music. i beleive there isnt an interpretation that i was unhappy with, so if you want all of ashkanasy's piano recordings and piano concertos in one set this is a great buy especially for the price and ammount of music.

Superb set of Rachmaninov's complete Piano works.......2001-02-04

Ashkenazy shows that he is as much at home here as he is playing Beethoven, Chopin, or Mozart. Although these performances may lack the drama of Argerich's tempestuous playing, they are very credible interpretations of the Russian composer's piano music. His performances of the concerti with Previn conducting the London Symphony Orchestra are regarded as among the finest of the entire Rachmaninov cycle. And his performances with Previn on the piano are fine, even if Previn's technique takes a back seat to Ashkenazy's. Aside from the concerti, the real gems have to be Ashkenazy's brilliant performances of the etudes. They are just as refined and as soulful as his excellent recordings of the entire Beethoven piano sonata cycle. This cheap set not only is a splendid introduction to Rachmaninov, but shows Ashkenazy at his finest, playing with technical elegance and lyricism.

Rachmaninov Piano Concertos 1-4 / Paganini Rhapsody

Average customer rating:

Rachmaninov Piano Concertos 1-4 / Paganini Rhapsody

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Chopin: Études
Rachmaninov: Preludes, Moments musicaux
Chopin: 24 Préludes
Rachmaninov: Piano Concertos Nos. 1 & 3
Etudes Tableaux

ASIN: B000GW8AYK
Release Date: 2007-03-20

Tracks:

Vivace
Andante
Allegro Vivace
Allegro Ma Non Tanto
Intermezzo: Adagio
Finale: Alla Breve

Tracks:

I Moderato
II Adagio Sostenuto
III Allegro Scherzando
I Allegro Vivace (Alla Breve)
II Largo
III Allegro Vivace

Tracks:

Introduction: Allegro Vivace/I (Precedente)
Theme: L'istesso Tempo/II L'istesso Tempo/III L'istesso Tempo/IV Piu Vivo/V Tempo Precedente/VI L'istesso Tempo
VII Meno Mosso, A Tempo Moderato
VIII Tempo I/IX L'istesso Tempo
X Poco Marcato
XI Moderato
XII Tempo Di Minuetto
XIII Allegro/XIV L'istesso Tempo/XV Piu Vivo Scherzando
XVI Allegretto/XVII Allegretto
XVIII Andante Cantabile
XIX L'istesso Tempo/XX Un Poco Piu Vivo/XXI Un Poco Piu Vivo/XXII Un Poco Piu Vico (Alla Breve)
XXIII L'istesso Tempo/XXIV A Tempo Poco Meno Mosso
Theme: Andante
I Poco Piu Mosso/II L'istesso Tempo
III tempo Di Menuetto
IV Andante
V Allegro/VI I Poco Piu Mosso/VII Vivace
VIII Adagio Misterioso
IX Un Poco Piu Mosso/X Allegro Scherzando/XI Allegro Vivace/XII L'istesso Tempo
XIII Agitato/Intermezzo: A Tempo Rubato/XIV Andante/XV L'istesso Tempo
XVI Allegro Vivace/XVII Meno Mosso
XVIII Allegro Con Brio/XIX Piu Mosso-Agitato/XX Piu Mosso/Coda: Andante
Theme: Largo
I Moderato/II Allegro/III L'istesso Tempo/IV L'istesso Tempo/V Meno Mosso/VI Meno Mosso
VII Allegro/VIII L'istesso Tempo/IX L'istesso Tempo/X Piu Vivo
XI Lento
XII Moderato
XIII Largo
XIV Moderato/XV Allegro Scherzando
XVI Lento/XVII Grave
XVIII Piu Mosso
XIX Allegro Vivace/XX Presto
XXI Andante-Piu Vivo
XXII Maestoso-Meno Mosso-Presto

Average customer rating:

RUN - not walk - to pick this up!!
From the sublime to the merely good.
Meh...
In spite of...
Great Piano Concerto Collection

Favourite Piano Concertos, Vol.1

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Mozart: Violin Concertos

ASIN: B0000069CV
Release Date: 1998-03-17

Tracks:

Concerto No. 21 In C, KV 467 (Elvira Madigan): 1. Allegro
Concerto No. 21 In C, KV 467 (Elvira Madigan): Andante
Concerto No. 21 In C, KV 467 (Elvira Madigan): Allegro vivace assai
Concerto No. 2 In F Minor, Op. 21: Maestoso
Concerto No. 2 In F Minor, Op. 21: Larghetto
Concerto No. 2 In F Minor, Op. 21: Allegro vivace
Concerto No. 1 In E Flat, S. 124: Allegro maestoso - Liszt
Concerto No. 1 In E Flat, S. 124: Quasi adagio - Liszt
Concerto No. 1 In E Flat, S. 124: Allegretto vivace - Allegro animato
Concerto No. 1 In E Flat, S. 124: Allegro marziale animato - Liszt

Tracks:

Concerto No. 5 in E flat, Op. 73 < >: Allegro
Concerto No. 5 in E flat, Op. 73 < >: Adagio un poco mosso
Concerto No. 5 in E flat, Op. 73 < >: Rondo. Allegro
Concerto symphonique No. 4, Op. 102: Scherzo
Concerto No. 2 In C Minor, Op. 18: Moderato
Concerto No. 2 In C Minor, Op. 18: Adagio sostenuto
Concerto No. 2 In C Minor, Op. 18: Allegro scherzando

Customer Reviews:

RUN - not walk - to pick this up!!.......2006-10-30

I purchased this CD set on eBay for less than $2 some time ago. Reviews here on Amazon are usually written by people who buy the CD from Amazon, but this set has brought me so much pleasure that I am obliged to - nay, MUST - write a review here to spread the word. :)

I have been a classical aficionado for the last 6 years or so, and have to date accumulated a collection of >150 classical CDs. Artistic merit aside, I am picky about recorded quality; most of my listening is done through headphones (AKG k501), so poor sound quality in a CD is a big no-no for me.

I'll get sound quality out of the way first then - the SQ on this set varies from good to excellent. Sometimes the miking may come across as a little too warm (Rachmaninov) or a wee bit hollow sounding (Chopin), but there is nothing major to complain about here. There is a spot of easily noticed distortion in the first 10 seconds of the Emperor (more on that later).

I originally purchased this set for just one performance in particular - Clara Haskil's Chopin #2. This particular performance has been out of print for some time and was last available as part of an exorbitantly priced set (Clara Haskil: Legacy) that is now impossible to find.

In a nutshell, Haskil's performance alone is worth the full price of the entire set. The playing in the 2nd movement is absolutely magical - Haskil interprets Chopin with a delicacy and refinement that is difficult to put into words. Her playing brings to mind something my old piano teacher once told me - "Anyone can play Chopin, but few can play Chopin well". The way the solo melodic line is strung together at ~41 seconds into the 2nd movement will send shivers down your spine. Beauty too rich for use / for earth too dear, indeed.

But wait - there's more!

Imagine my surprise when another of the performances in this set turned out to be a 'sleeper hit': Brendel's Beethoven #5 ("Emperor"). I quickly grew to prefer Brendel's Emperor over my 'reference' recording - Pollini with Abbado (part of a very expensive DG 3CD set!). Brendel plays with more emotion and warmth - his Emperor comes off as truly majestic when compared to Abbado, who comes off as a little more magisterial and cold. There is a spot of piano clatter about 10 seconds into the first movement, but it is nothing major and certainly does not detract from the beautiful playing that follows.

Unfortunately Brendel's Elvira Madigan comes across as faaaaar tooooo slooooowwwww (for my taste). The playing is mannered, and there is none of the wiry elegance that should (in my opinion) characterise interpretations of music written during the Classical period. I much prefer my Pires with Abbado on DG for this concerto.

Janis's Rachmaninov #2 is worth a mention as well. Tape hiss on this recording is noticeable on headphones, but not overly prominent. There are few options for the Rach 2nd nowadays - Ashkenazy's warhorse is the usual (and nearly unanimous) recommendation.

Byron Janis was (in?)famous due to his being one of Vladimir Horowitz's two 'officially' recognised pupils, yet I find little Horowitz in this interpretation. There is none of the bravado and bold impulsiveness that characterised Horowitz's earlier work, no awkward mannerisms that characterised his middle work and none of the introspectiveness and coolness that characterised his late work.

What you will get instead is a well-measured and 'polite' Rach #2 with rather melancholy overtones, I find. Certainly a viable alternative to the Ashkenazy mentioned earlier, but a choice subject to personal taste. I prefer my own copy on Naxos by Jando.

I am not familiar with the Litolff and the Liszt, so I shall reserve comment on their respective readings. They are both well recorded though - warm and expansive.

From the sublime to the merely good........2006-04-27

This collection is an absolute steal. Three of the concerto recordings are unsurpassed. The Haskil Chopin is legendary, Richter's Liszt is colossal and Janis's Rachmaninoff is absolutely formidable. Brendel's recordings of Mozart and Beethoven are on a lesser level of achievement, but never less than good.

It should be noted that the Liszt and Rachmaninoff are Mercury Living Presence recordings, and if you've never heard a recording with only 3 well-placed mics, they do sound different from the usual 25-plus microphone recordings we are usually blessed (cursed) with.

At this price, one of the absolute CD bargains of all time.

Meh..........2006-03-28

This collection serves as a descent introduction to some great piano concertos, but the performances are not the best and the recording quality of most of them leaves much to be desired for me. I learned my lesson with regards to the 'best of' classical collections. Personally I'd rather have gotten great recordings of great performances of great classical pieces for a little more money.

In spite of..........2005-06-21

The problem with a heterogeneous collection like this one is that you may like some of the concertos, but not all. I have never found any better recording of Chopin's 2nd concerto than the one with Haskil/Markevitch, so this alone is worth the price, hence my five stars - only for that one! Brendel on Mozart's 21st is also one of many nice accounts. The others are not good enough, if you ask me. Chopin's 2nd by Haskil/Markevitch carries the stars; it is pure magic!

Great Piano Concerto Collection.......2003-07-03

Back in the days before I became a serious collector of classical music, I had this title. What a wonderful introduction it was for me, and if all you are looking for is some first rate performances of some of the best loved Piano Concertos ever written, then this disc is for you. Of course, I no longer own this CD, but I still have all of the individual performances (save the Litolff by Dichter/Marriner) on more comprehensive collections -- the Mozart on the Philips Duo of the "Great Mozart Piano Concertos" featuring Brendel and Marriner, the Chopin on the now o.o.p. Clara Haskil Legacy Vol. 2, the Liszt on a recently reissued Philips 50 title, the Beethoven on the new 3CD Universal Trio collection, and the Rach 2 on good old Mercury Living Presence -- and they are still among my favorites. If you buy this set, just be prepared to upgrade like I did.

Average customer rating:

What do you expect from 1941? It's still GENIUS!
Best ever Rach 3 cadenza
Great performance if you can hear it
Yes, the sound quality isn't great, but ...
Horrendous Disappointment

Tchaikovsky and Rachmaninov Concertos

Manufacturer: APR
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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Horowitz in Moscow
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The Sofia Recital 1958
Horowitz plays Chopin vol.3

ASIN: B0000264YM
Release Date: 2004-08-31

Amazon.com

The concerto recordings that Horowitz made with his tyrannical father-in-law, Arturo Toscanini, are depressingly rigid, and others are disappointing in their currently available versions. APR's well-transferred pairing of these two concertos closely associated with Horowitz is, however, highly desirable. They're live recordings from 1940 and 1941, capturing him in full flight, playing with spontaneity, feverish energy, and stunning brio. --Dan Davis

Customer Reviews:

What do you expect from 1941? It's still GENIUS!.......2006-06-29

This has to be one of the best Rach 3s ever performed, recorded or not. It has a similar intensity to it as did Vladimir Ovchinikov's Rach 2 in the final of the Leeds 1987 competition (for those lucky enough to have seen/heard this). Totally mesmerizing. And for those who quibble at the quality, what do you expect from a 1941 recording? We are so lucky to have this recording AT ALL! Buy, and recommend like crazy!

Best ever Rach 3 cadenza.......2006-01-13

Concerning the Rachmaninoff 3rd Concerto with Horowitz and Barbirolli...

The reviewer who said this is a recording for Horowitz fanatics who want to punish themselves is clearly not a pianist. They also never made it to the cadenza (wow!).

However, because of the aged audio quality, I do not recommend this CD for someone who does not appreciate music for its own sake. If your recordings have to be perfectly clear, then you might try the very good recordings by Byron Janis or Martha Argerich. There are also some minor cuts made here which are somewhat irksome when you know and enjoy the entire piece.

It is the difference between fast piano playing without a strong sense of purpose (e.g. Argerich) and fast piano playing with great power that makes this recording worth listening to. Horowitz does not give us a senseless reading of virtuosity here. He pours out his heart in much the same way Rachmaninoff did in his own recording of his first concerto (which I also highly recommend, noise and all). It is almost like the soloist and the music became one, a rare occurrance in a multitude of recordings.

Great performance if you can hear it.......2005-03-14

I have no problems with the musical performance, and was thrilled to be able to hear something performed by such a master. Although there is a disclaimer, as mentioned, I have to agree that the recording quality is awful. The popping and hissing is so bad in places that it is nearly impossible to hear the performance. I have since purchased other recordings so that I can hear the music without interruption. If you want this recording to be able to hear how Horowitz performs these pieces, I would recommend this CD. If you want this to be your only recording of these pieces, get another CD.

Yes, the sound quality isn't great, but ..........2003-04-02

frankly, the rachmaninoff recording that is on this disc, is, in my opinion, the most impressive musical performance I have ever been privileged to hear. In contrast with his other recordings of the work, which are all very special, horowitz plays with with true fire, not holding himself back like he did in the celebrated '51 recording. The coda of the finale is absolutely breathtaking. Not without reason did Gramophone describe this as the Rachmaninoff's third to end all Rachmaninoff's thirds. The intensity is simply astonishing. The Tchaikovsky is another fine performance, but personally I prefer his 1943 recording with Toscaninni. Now, about the sound quality, it is slightly off-putting in the coda of the Tchaikovsky finale, and for a moment in the Rachmaninoff intermezzo. But, for goodness sake, to quibble about this when presented with such brilliance is petulence itself.

Horrendous Disappointment.......2001-07-24

This recording includes a disclaimer [...] Although the manufacturer claims to have expended considerable technical effort in resurrecting this performance, the results are horrid. There are loud pops, whizzes, cracks, and snaps. At times, the pitch wavers monumentally. Horowitz is not even at his best in the Tschaikowsky--if you want to hear that, you need the Bruno Walter recording. Purchase this recording at your own risk--and then only if you are a die-hard Horowitz fanatic willing to suffer greatly for your devotion.

Music Review:

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