Rachmaninov:Concerto Nos. 1 & 4/Rhapsody on a Theme of Paganini

On this CD:

1. Piano Concerto No. 1 in F sharp minor, Op. 1
Composed by Sergey Rachmaninov
Performed by Royal Philharmonic Orchestra with Earl Wild
Conducted by Jascha Horenstein

2. Piano Concerto No. 4 in G minor, Op. 40
Composed by Sergey Rachmaninov
Performed by Royal Philharmonic Orchestra with Earl Wild
Conducted by Jascha Horenstein

3. Rhapsody on a Theme of Paganini (Introduction and 24 Variations), in A minor for piano & orchestra, Op. 43
Composed by Sergey Rachmaninov
Performed by Royal Philharmonic Orchestra with Earl Wild
Conducted by Jascha Horenstein

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.

Classical Masterpieces of the Millennium [20 CD Set]

Average customer rating:

Mill. Classical review
classical music for the unitiated
Some little gems there that I had forgotten!
A very helpful collection
Excellent!

Classical Masterpieces of the Millennium [20 CD Set]

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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ASIN: B00000K1C9
Release Date: 1999-08-24

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

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

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.

Sergi Rachmaninoff: Concertos Nos. 1 & 4/Rhapsody, Op. 43

Average customer rating:

If not for William Kapell !
Great CD of classic performances.

Sergi Rachmaninoff: Concertos Nos. 1 & 4/Rhapsody, Op. 43

Manufacturer: Chesky Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Rachmaninoff: Piano Concerto no.2, Isle, etc./Wild, Horenstein
Earl Wild - Rachmaninov: Concerto No. 3 in D Minor for Piano and Orchestra, Op. 30; MacDowell: Concerto No. 2 in D Minor for Piano and Orchestra, Op. 23
Vivaldi: The Four Seasons; Flute Concerto "Il Gardellino"; Harpsichord Concerto in A major
Beethoven: Symphonies 6 & 8
Debussy: Nocturnes No1-3; Prélude à l'après-midi d'un faune

ASIN: B000003GD4
Release Date: 1993-01-05

Tracks:

Piano Concerto No.4 G minor, Op. 40: Allegro vivace (Alla breve)
Piano Concerto No.4 G minor, Op. 40: Largo
Piano Concerto No.4 G minor, Op. 40: Allegro vivace
Piano Concerto No.1 F# minor, Op. 1: Vivace
Piano Concerto No.1 F# minor, Op. 1: Andante
Piano Concerto No.1 F# minor, Op. 1: Allegro vivace
Rhapsody on a Theme of Paganini, Op. 43

Customer Reviews:

If not for William Kapell !.......2007-05-23

At the moment to comment any work for piano and Orchestra of this Russian composer, it' s unavoidable not to talk about William Kapell. He signed for the eternity the most praised reviews.

This album is excellent, in spite of the fact Wild is in another level respect to Kapell.

If I had not listened the monumental version of the First Concerto under Monteux's conduction with the San Francisco Symphony,I would surely have bet by this one.

Something similar happens with the Rhapsody Op.43 in both versions with Rodzinski and Reiner,Kapell makes an impressive tour de force, illuminating the score to unthinkable levels.

Rachmaninov's Fourth Piano Concerto is possibly the least known of the quartet. With this outstanding Op. Sergei surmounted the frontiers of the romantic mood to place himself in a personal atmosphere of cosmic refelxion and precognitive meditation. Profoundly expressive and fiercely played, this work is a true revelation for all those who still ignore or simply have decided include it among another additional piece of the romantic repertoire.

Hovered of a visible introspective feature, the composer seems to be immersed into an atmosphere of livings, without overindulgent inflections, where the changing tonality and rough modulations seduces even the most exigent listener.

This aerial lyricism, is perhaps the main strength and simultaneously, the major weakness, because of the fact it breaks with all the previous canons.

This is honorable and worthy to listen version. But unfortunately or fortunately, according the case, there's a historical performance, never equaled and obviously surmounted. I'm talking about a living register made by William Kapell under Thomas Schippers' s direction with the New York Philharmonic, from 1952. This is the most sublime interpretation never recorded of this work. Listening to Kapell, you will be conveyed from the first bars to another universe, loaded of plethoric emotion, flaming pianism and mercurial energy.

Thanks to the never ending generosity of an unforgettable friend I have a copy of this historical performance that I really hope someday be released commercially.

So, in absence of this last one, this is an honorable option.

Great CD of classic performances........2001-05-04

There are four piano concertos, and the Rhapsody on a theme of Paganini, written in 1934 and the last of his works for piano and orchestra. The composer's own mono recordings are indispensable as a point of reference. The best transfers of all five works are on two Naxos CDs issued in 1999.

This is a very fine (and well filled) CD of concertos Nos 1 and 4 and the Paganini Rhapsody, by Earl Wild: this account of the Rhapsody can lay claim to be the most brilliant ever recorded.

If the two concertos are occasionally played a little too quickly for comfort, they can be regarded as a dazzling bonus for the Rhapsody. The recordings date from the mid-1960s but still sound marvellous.

Tracks:

Piano Concertos Nos.1 & 2
Piano Concertos Nos.1 & 2
Piano Concertos Nos.1 & 2
Piano Concertos Nos.1 & 2
Piano Concertos Nos.1 & 2
Piano Concertos Nos.1 & 2

Amazon.com

These are fine performances. Zimerman's playing can be somewhat self-conscious, and at times he seems to be aware that he ought to say something new about these well-known works, but he's never less than animated. The first concerto comes across as stylish and warm, with the melodies clear amidst the sheer brilliance of the playing and the rhythms strongly underlined. The lack of mania is most welcome. (Earl Wild's performance of this work on Chandos, however, is more spectacular than any other.) The second, better-known work, is an honest, straightforward reading, with the first movement's finale expansive and grand, an Adagio of surprising affection and meditation, and a final movement in which the very familiar second melody shows up almost surprisingly in its freshness. If this lacks the tension found in some other recordings, it makes up for it in a non-garish boldness which shines. The recording of choice here is Ashkenazy's on Decca, but, again, both of these concerti are well-served by Zimerman, and Ozawa's leadership of the BSO is masterful. --Robert Levine

Customer Reviews:

well done.......2007-06-23

My only complaint here is that the orchestra is kept too far in the background. This is a piano-forward aural picture, as though the listener were seated immediately in front of the open lid of Zimerman's grand, with much of the sound of the Boston Symphony going past you, out into the hall. I have a recording of the old Boston Symphony playing the 3rd Rachmaninoff Piano Concerto with Byron Janis and Erich Leinsdorf; listening to Zimerman and Ozawa here, I longed for that aural picture of Janis and Leinsdorf, capturing as it does a realistic balance between piano and orchestra and the whole sound of the Boston hall.

But other than that, this is a really satisfying disc. I think it stands alongside the very best of Ozawa's recordings with the Boston Symphony: with his Prokofiev Romeo and Juliet, 5th and 7th Mahler symphonies, Berlioz Requiem, and Franck D minor Symphony. Zimerman's playing is electrifying. I'm indifferent to his recent Brahms 1st Piano Concerto with the Berliners, but this album is right on the money where the soloist is concerned, and if one could ask to hear more of the orchestra, nevertheless one hears enough to be impressed at the dialog between them and the soloist.

A Stunning Performance.......2006-05-06

I, like many, have been listening to recordings of these concertos for a lifetime (40+ years). There are several that I love: the Van Cliburn (my first exposure to the 2nd), Richter, Janis, Argerich, and, most recently, Hough, have all had something significant to say about these works. Every once in awhile, though, someone breaks through the veneer and makes us reexamine what we think we know about the warhorses. Such is the achievment of Zimerman in this performance. I had a similar feeling about his Liszt sonata when it was released. The overall shaping of the movements and the range of jaw-dropping viruosity and tenderness will leave you speachless.

As we've seen from the reviews that preceed this one, there are some who feel that the piano is too much in the foreground, and to this is say, "thank god!" Ozawa or Zimerman or the engineers--or perhaps all three--understood that they needed to get out of Zimerman's way. This approach certainly doesn't work for other pianists, nor does it always work for the listener, but it does sometimes work for titans like Argerich, Richter and Zimerman. Look elsewhere for more balance between orchestra and piano. For sheer heart and hair-raising brilliance, though, you will not find a better recording. In fact, in my classical collection that includes thousands of recordings, I have put this on my top-ten list of greatest all-time performances by a pianist. Incidentally, Zimerman's recording of the Liszt sonata also makes the cut.

Limitless.......2006-02-16

Under Zimerman's hands, the piano seems to have limitless possibilities. His playing can jump from bird-song whispering to a violent storm in the same breath. Truly breathtaking.
Many readers complain about the recessed orchestra sound in the 2nd concerto and I agree. But Ozawa's interpretation leans toward being sensitve and fragile. If you want the orchestra as an equal, powerful partner, try Previn (for Ashkenazy) or Reiner (for Cliburn).
BTW, Zimerman is coming to my town and I am going to hear him!

How not to play Rachmaninov........2005-12-01

It seems like Zimmerman is popular on this site so I might sound like a contrarian here, but this is really bad.
Zimmerman has a very light tone/sound which is one of the reasons I also don't like his Beethoven (sounds like Mozart). Pollini's is much better.
Zimmerman plays the third movement of the first concerto (which I have played) like a cocktail bar pianist. The opening arpeggion he plays quick and blurred. The same with the third movement of the second concerto. His interpretation seems very artificial. No depth at all. Listen closely to the begginning of the first movement of the second concerto - He goes from a very slow intro (in which he is overinterpreting it instead of playing the chords in one flow) and the orchestra kicks in and plays at warp-speed (the orchestra throughout the CD is horrible). The orchestra plays this like It is obvious that Zimmerman does not understand Rachmaninof - he plays as if it was Chopin - Rachmaninov's music heavier/meatier as far as harmony and chordal structure ( this is why Richter plays it so well - he really puts down the weight on each chord. The melodies are supposed to be long and broad in scope. The tempi in this whole CD are completely distorted and silly.
This is really really bad.

Am I deaf?.......2005-03-06

It took a great deal of searching at this site to locate this album and read its reviews. I bought this CD on the basis of readings elsewhere than at Amazon.com and, unfortunately, I didnt look through the review space here. I have to react in the same way as Shane Saunders - it is certainly the worst CD recording of the Second Concerto, or any other concerto, in my 30+ years of listening. I am unimpressed by the favorable reviews. However, I must admit that the First Concerto is a fine and novel interpretation by Zimerman supported by impressive gusts of deep-throated orchestration by Ozawa.

Music Track:

Music Track

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