Rachmaninov: Piano Concertos 2 & 4

1. Piano Concerto No. 2 in C minor, Op. 18
Composed by Sergey Rachmaninov
Performed by Bulgarian Radio Symphony Orchestra with Ivan Drenikov
Conducted by Jean-Pierre Wallez

2. Piano Concerto No. 4 in G minor, Op. 40
Composed by Sergey Rachmaninov
Performed by Bulgarian Radio Symphony Orchestra with Ivan Drenikov
Conducted by Jean-Pierre Wallez

Rachmaninov: Piano Concertos 2 & 4,Sergey Rachmaninov,Jean-Pierre Wallez,Bulgarian Radio Symphony Orchestra,Ivan Drenikov,Delta,Chamber Music & Recitals,Classical,Classical Composers,Classical Music,Concerto,Piano Concerto

Average customer rating: This is the one to buy! An easy first choice The champion of Rachmaninov's music. Thoughtful but passionate interpretations Very good

Rachmaninov: Piano Concertos Nos. 1 - 4 Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Concertos | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Ashkenazy, Vladimir | ( A ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Rachmaninov: The Symphonies Rachmaninov: 24 Preludes/Piano Sonata No.2 Tchaikovsky: Symphonies no 4, 5, & 6 / Karajan, Berlin PO Rachmaninoff plays Rachmaninoff Prokofiev: The Five Piano Concertos ASIN: B00000427L Release Date: 1996-02-13

Tracks:

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

Tracks:

1. Piano Concerto No.3 In D Minor, Op.30: I Allegro ma non tanto
2. Piano Concerto No.3 In D Minor, Op.30: II Intermezzo: Adagio
3. Piano Concerto No.3 In D Minor, Op.30: III Finale (Alla breve)
4. Piano Concerto No.4 In D Minor, Op.40: I Allegro vivace (Alla breve)
5. Piano Concerto No.4 In D Minor, Op.40: II Largo
6. 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.

Average customer rating: The definitive recording my ears don't lie do they? Classic! A very special gifted pianist! Beautiful recording

Rachmaninoff: Piano Concertos Nos. 2 & 3 Manufacturer: Philips ProductGroup: Music Binding: Audio CD General | Concertos | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Minnesota Orchestra | ( M ) | Featured Performers, A-Z | Classical | Styles | Music Similar Items: 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 Tchaikovsky: 1812 Overture/Capriccio Italien/Beethoven: Wellington's Victory Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116 Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist ASIN: B0000057LA Release Date: 1991-11-08

Tracks:

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

Amazon.com essential recording

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | 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 Prokofiev: Piano Concerto No. 5 / Sviatoslav Richter ASIN: B000001GQD Release Date: 1996-02-13

Tracks:

1. Concerto for Piano and Orchestra No. 2 in C Minor: 1. Moderato
2. Concerto for Piano and Orchestra No. 2 in C Minor: 2. Adagio sostenuto
3. Concerto for Piano and Orchestra No. 2 in C Minor: 3. Allegro scherzando
4. Concerto for Piano and Orchestra No. 1 in B Flat Minor: 1. Allegro non troppo e molto maestoso - Allegro con spirito
5. Concerto for Piano and Orchestra No. 1 in B Flat Minor: 2. Andantino semplice - Prestissimo -Tempo I
6. 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.

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 General | Concertos | Forms & Genres | Classical | Styles | Music Etudes | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Sonatas | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Classical | Box Sets | Stores | Music Bargain Box Sets | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | 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:

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

Tracks:

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

Tracks:

1. Rhapsody On A Theme Of Paganini: Op. 43 - Rachmaninov
2. Piano Sonato No. 2 in B Flat Minor, Op. 36: I. Allegro agitato - Rachmaninov
3. Piano Sonato No. 2 in B Flat Minor, Op. 36: II. Non allegro - Rachmaninov
4. Piano Sonato No. 2 in B Flat Minor, Op. 36: III. Allegro molto - Rachmaninov
5. 8 Etudes-tableaux, Op. 33: No. 1 in F minor - Rachmaninov
6. 8 Etudes-tableaux, Op. 33: No. 2 in C major - Rachmaninov
7. 8 Etudes-tableaux, Op. 33: No. 3 in C minor - Rachmaninov
8. 8 Etudes-tableaux, Op. 33: No. 4 in D minor - Rachmaninov
9. 8 Etudes-tableaux, Op. 33: No. 5 in E flat minor - Rachmaninov
10. 8 Etudes-tableaux, Op. 33: No. 6 in E flat major - Rachmaninov
11. 8 Etudes-tableaux, Op. 33: No. 7 in G minor - Rachmaninov
12. 8 Etudes-tableaux, Op. 33: No. 8 in C sharp minor - Rachmaninov
13. Prelude in C sharp minor, Op. 3, No. 2 - Rachmaninov

Tracks:

1. 10 Preludes, Op. 23: No. 1 In F Sharp Minor - Rachmaninov
2. 10 Preludes, Op. 23: No. 2 In B Flat Major - Rachmaninov
3. 10 Preludes, Op. 23: No. 3 in D minor - Rachmaninov
4. 10 Preludes, Op. 23: No. 4 In D Major - Rachmaninov
5. 10 Preludes, Op. 23: No. 5 In G Minor - Rachmaninov
6. 10 Preludes, Op. 23: No. 6 In E Flat Major - Rachmaninov
7. 10 Preludes, Op. 23: No. 7 In C Minor - Rachmaninov
8. 10 Preludes, Op. 23: No. 8 In A Flat Major - Rachmaninov
9. 10 Preludes, Op. 23: No. 9 In E Flat Minor - Rachmaninov
10. 10 Preludes, Op. 23: No. 10 In G Flat Major - Rachmaninov
11. 13 Preludes, Op. 32: No. 1 In C Major - Rachmaninov
12. 13 Preludes, Op. 32: No. 2 In B Flat Minor - Rachmaninov
13. 13 Preludes, Op. 32: No. 3 In E Major - Rachmaninov
14. 13 Preludes, Op. 32: No. 4 In E Minor - Rachmaninov
15. 13 Preludes, Op. 32: No. 5 In G Major - Rachmaninov
16. 13 Preludes, Op. 32: No. 6 In F Minor - Rachmaninov
17. 13 Preludes, Op. 32: No. 7 In F Major - Rachmaninov
18. 13 Preludes, Op. 32: No. 8 In A Minor - Rachmaninov
19. 13 Preludes, Op. 32: No. 9 In A Major - Rachmaninov
20. 13 Preludes, Op. 32: No. 10 In B Minor - Rachmaninov
21. 13 Preludes, Op. 32: No. 11 In B Major - Rachmaninov
22. 13 Preludes, Op. 32: No. 12 In G Sharp Minor - Rachmaninov
23. 13 Preludes, Op. 32: No. 13 In D Flat Major - Rachmaninov

Tracks:

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

Tracks:

1. 9 Etudes-tableaux, Op. 39: No 1 In C minor - S. Rachmaninoff
2. 9 Etudes-tableaux, Op. 39: No 2 In A minor - S. Rachmaninoff
3. 9 Etudes-tableaux, Op. 39: No 3 In F Sharp Minor - S. Rachmaninoff
4. 9 Etudes-tableaux, Op. 39: No 4 In B Minor - S. Rachmaninoff
5. 9 Etudes-tableaux, Op. 39: No 5 In E Flat Minor - S. Rachmaninoff
6. 9 Etudes-tableaux, Op. 39: No 6 In A Minor - S. Rachmaninoff
7. 9 Etudes-tableaux, Op. 39: No 7 In C Minor - S. Rachmaninoff
8. 9 Etudes-tableaux, Op. 39: No 8 In D Minor - S. Rachmaninoff
9. 9 Etudes-tableaux, Op. 39: No 9 In D Major - S. Rachmaninoff
10. Symphonic Dances for 2 pianos, Op. 45: I. Non allegro - Lento - Tempo I - S. Rachmaninoff
11. Symphonic Dances for 2 pianos, Op. 45: II. Andante con moto (Tempo di valse) - S. Rachmaninoff
12. 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.

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 | Concertos | Forms & Genres | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Similar Items: Van Cliburn: My Favorite Rachmaninoff Serge Rachmaninoff: 3 Symphonies/The Rock Sergei Rachmaninoff: Greatest Hits Rachmaninoff plays Rachmaninoff Rachmaninoff Plays Rachmaninoff ASIN: B000004167 Release Date: 1993-10-12

Tracks:

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

Tracks:

1. Piano Concerto No. 1 In F Sharp Minor, Op. 1: 1. Vivace
2. Piano Concerto No. 1 In F Sharp Minor, Op. 1: 2. Andante
3. Piano Concerto No. 1 In F Sharp Minor, Op. 1: 3. Allegro vivace
4. Piano Concerto No. 4 In G Minor, Op. 40: 1. Allegro vivace. (Alla breve)
5. Piano Concerto No. 4 In G Minor, Op. 40: 2. Largo
6. Piano Concerto No. 4 In G Minor, Op. 40: 3. Allegro vivace
7. 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.

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 General | Concertos | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Minneapolis Symphony Orchestra | ( M ) | Featured Performers, A-Z | Classical | Styles | Music Similar Items: Stravinsky: The Firebird (Complete Ballet); Fireworks [Hybrid SACD] Prokofiev: Piano Concerto No. 3; Rachmaninoff: Piano Concerto No. 1 [Hybrid 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] Respighi: Ancient Dances and Airs for Lute Suites 1, 2 & 3 [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: Second Concerto worth six stars: the other are worth four. Rachmaninov, Ashkenazy and Previn Again?!

Rachmaninov: Complete Piano Concertos/Rhapsody Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Paganini: Violin Concerto No. 1; Spohr: Violin Concerto No. 8 ASIN: B000076GYF Release Date: 2003-01-14

Customer Reviews:

Second Concerto worth six stars: the other are worth four........2006-10-28

IT is always wise to stay away from complete sets if you intend to keep only one. It is always better to take an eclectic approach. for the third, horowitz and barbirolli have one of the best in the market. ashkenazy and ormandy also present a fantastic reading, but it's harder to find. stay away from the argerich... completely overrated (i personally enjoy argerich's performances, but that one was off the mark).
the fourth is a more complicated question.. michelangeli presents us with an excellent reading, full of pathos. but rachmaninoff plays rachmaninoff on RCA has a more demonic quality to it.
the second on this set is clearly one of the best performances you'll ever hear. although ashkenazy has secured his position as a somewhat ambigious pianist by recording a vast discography and accomplishing relatively little, his rachmaninoff stands at the top of my list. the second especially, is rife of triumph and melancholy. a must for all rach lovers.

Rachmaninov, Ashkenazy and Previn Again?!.......2003-07-18

The playing on this CD is worthy of five stars, but Universal gets a one-star demerit for releasing these works too many times. If you want one CD of Ashkenazy & Previn playing a couple of Rachmaninov Piano Concertos, then you buy the Penguin Classics title. If you want two CDs of Ashkenazy & Previn playing all four Rachmaninov Piano Concertos, then you buy the Double Decker. If you want six CDs of Ashkenazy & Previn playing all four Rachmaninov Piano Concertos, plus the Paganini Rhapsody and other works for piano, then you buy the boxed set. And now, if you want Ashkenazy & Previn just playing all four Rachmaninov Piano Concertos and the Paganini Rhapsody, you can get this three disc set. Geez, there is less selection in the grocery store! Some of the Universal Trio releases have been phenomenal -- Dvorak Slavonic Dances/Symphonic Poems, Brahms Concertos/Overtures, Mendelssohn String Quartets, etc. -- but with the combined resources of so many labels surely they could have dug a little deeper into the vaults and found something else that was unreleased on CD. Or, just not bothered with this title at all.

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 | Concertos | Forms & Genres | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Andsnes, Leif Ove | ( A ) | Featured Performers, A-Z | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Similar Items: 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:

1. I: Vivace
2. II: Andante
3. III: Allegro Vivace
4. I: Modereto
5. II: Adagio Sostenuto
6. 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: Rachmaninov you never knew.. Really loved them Perhaps I'm a heretic, but... Buy it The REAL Rachmaninov

Rachmaninov: Piano Concertos Nos. 2 and 3 Manufacturer: Naxos ProductGroup: Music Binding: Audio CD General | Concertos | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Rachmaninov: Piano Concertos No. 1 & No. 4 Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23 Rachmaninov Plays Rachmaninov--Ampico Recordings (1919-29) Rachmaninoff Plays Rachmaninoff ASIN: B000026B8F Release Date: 1999-10-26

Tracks:

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

Customer Reviews:

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

..until you hear this.

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

Until recordings like this came along.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I'd suggest getting, along with this, the companion disc, featuring the (undeservedly) less well known 1st and 4th concertos and the Paganini rhapsody

Average customer rating: Authentic? Maybe, But Unbalanced. painful Good new recording, with a few remarks An absolute stunner GETTING A BIT THICK IN HERE

Rachmaninov: Piano Concertos / Paganini Rhapsody Rachmaninoff , Stephen Hough , Andrew Litton , and Dallas So Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD General | Concertos | Forms & Genres | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Hough, Stephen | ( H ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Rachmaninov | Rachmaninov, Sergei | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Classical | Imports | Stores | Music Similar Items: Saint-Saëns: The Complete Works for Piano & Orchestra Stephen Hough's New Piano Album Stephen Hough Piano Collection Haydn: The Paris Symphonies Nos. 82-87 Mendelssohn: Piano Concerti Nos. 1 & 2; Capriccio Brillant; Rondo Brillant ASIN: B0002VYF4Y Release Date: 2004-10-12

Tracks:

1. Vivace
2. Andante
3. Allegro Vivace
4. Allegro Vivace
5. Largo
6. Allegro Vivace
7. Introduction Allegro Vivace
8. Variation I. Precedente
9. Theme L'Istesso Tempo
10. II. L'Istesso Tempo
11. III. L'Istesso Tempo
12. IV. Piu Vivo
13. V. Tempo Precedente
14. VI. L'Istesso Tempo
15. VII. Menu Mosso, A Tempo Moderato
16. VIII. Tempo I
17. IX. L'Istesso Tempo
18. X. Poco Marcato
19. XI. Moderato
20. XII. Tempo Di Minuetto
21. XIII. Allegro
22. XIV. L'Istesso Tempo
23. XV. Piu Vivo Scherzando
24. XVI. Allegretto
25. XVII. [Allegretto]
26. XVIII. Andante Cantabile
27. XIX. A Tempo Vivace
28. XX. Un Poco Piu Vivo
29. XXI. Un Poco Piu Vivo
30. XXII. Un Poco Piu Vivo (Alla Breve)
31. XXIII. L'Istesso Tempo
32. XXIV. A Tempo Un Poco Menu Mosso

Tracks:

1. Moderato
2. Adagio Sostenuto
3. Allegro Scherzando
4. Allegro Ma Non Tanto
5. Intermezzo: Adagio
6. Finale: Alla Breve

Customer Reviews:

Authentic? Maybe, But Unbalanced........2007-07-08

It seems, judging from the other reviews that people either love this set and it is the greatest thing that ever happened to the 4 piano concertos of Rachamninov, or, although they are a minority, people absolutely hate it. There is little doubt that these performances are extremely well played and recorded. The pianist, Stephen Hough makes claims of authenticity, that these pieces are being played as Rachmaninov himself conceived and played them. Is this true and does the way they are played work or do justice to them and their composer?
Concerning concertos nos.1&4 and the Paganini Rhapsody I would say the answer is definitely yes. These are beautiful, highly romantic, well reasoned performances neither too fast nor too slow with neither too much nor too little rubato. Adding to the authenticity is the inclusion of missing wind parts in the third movement of the fourth concerto which apparently are to be found only in one other recorded version, that of Rachmaninov himself with the Philadelphia Orchestra some 70 or so years ago. These three performances may be enough in themselves to make it worth purchasing the set.
The performances of nos. 2&3 on disc 2 are a somewhat different story.
It is generally true that Stephen Hough plays these two pieces more like Rachmaninov did than most modern performances, in that he plays certain segments faster. However he compromises the quality of both pieces somewhat by doing things that Rachmaninov did not do. Many performances of no.2 suffer from playing the opening theme of the first movement too slowly with too much rubato causing it drag a bit and fragment. In Rachmaninov's recordings he and the orchestra play it significantly faster than many modern recordings as does Hough and the Dallas Symphony. However Mr.Hough goes too far in that he plays the opening piano chords much too fast with little or no rubato. While Rachmaninov played it faster than many recordings he is noticeably slower than Hough, especially at first, speeding up a little with slight touches of rubato, causing a more satisfying building of the drama. However The rest of the first movement in Hough's performance is fine and the other two movements are right on the money.
A composer can be incorrect about one of his own pieces concerning how it should best be performed. It is possible that Rachmaninov performed his third piano concerto too fast. The young Vladimir Horowitz whose performance the composer preferred almost certainly did. A number of more modern recordings can be too slow and stately, such as that by Vladimir Ashkenazy with Andre Previn in the seventies which is very beautiful. It seems an extremely difficult task to find a recording that has the right balance between the two. Hough is definitely on the fast side but not unreasonable until the close of the final which he machine guns through without missing a note and is topped off by the closing orchestral chords so fast and even that you feel emotionally, not ecstatic, but almost as though you've been shot. Again Rachmaninov and the Philadelphia are ever so slightly slower with rhythmic variation adding much to the drama working listeners to emotional frenzy. Funny what a little rubato can do.

painful.......2007-04-10

I heard the Paganini Rhapsody from this album, and frankly, I was NOT impressed. From what I heard of Hough's and Litton's cooperative style in the Rhapsody, I can't imagine that the concertos would be much better, and I strongly advocate not buying this. To his credit, he hit most of the notes. It was mainly the interpretation, the misguided rubato etc. that put me off, but it put me far enough off that I would never recommend this album. Having said that, I do own Earl Wild's set, with Previn conducting, so I expect a lot when I hear these amazing works, among my all-time favorites for piano and orchestra. Regardless: it just wasn't that good, sorry.

Good new recording, with a few remarks.......2007-01-19

Stephen Hough has taken the liberty of interpreting the Rachmaninov piano concertos quite freely, especially concerning the tempi. I'm sure he has listened to all previous recordings (including Rachmaninov's own) before deciding on these interpretations, but they *have* raised some eyebrows, as several reviewers remarked earlier.
Although the recording quality itself is really good (especially for a live recording), the mastering is quite soft, which makes this CD sound softer than most other classical CD's. Pity!
Just details, though. Stephen Hough's masterful piano technique ensures a sublime experience of some of the finest piano concertos ever written.

An absolute stunner.......2006-07-27

I've spent years working on these pieces as an amateur. In fact, collecting recordings of these concertos has been one of my greatest enthusiasms. Having heard practically all the commercially available recordings (and some) out there, I can only bow down to Stephen Hough for this monumental achievement.

It's not just the virtuosic bravura and utter refinement of the pianism, but what sets Hough apart from everybody else is his sense of timing and complete avoidance vulgar Soviet-style emoting. Hough's sense of tempo rubato, lingering in the beginning of the phrase before rushing towards the climax, is a lost art that was common practiced by the greatest artists from the beginning of the 20th century (such as Rachmaninoff himself, Tauber, Cortot, Heifetz, Kreisler...).

I urge people to follow these performances with a score in hand. It is an objective lesson in how maximum expressive freedom (often shockingly revelatory) can be achieved by a thorough understanding of a composer's rhetoric and notations.

GETTING A BIT THICK IN HERE.......2006-06-16

Hm, so many crazy-positive reviews. Campaign?

The negative reviews, unfortunately, have it right. As a performer of Rachmaninoff, Hough is the best Saint-Saens interpreter there is.

Hough makes these concerti sound like watered-down Gershwin. That's all. Some people respond to this: some people respond to the cheap and flashy. Others do not. Still others resent the transformation of diamonds into rhinestones.

The cover with a cigarette-biting Rach is appropriate. When listening to these discs, one can almost smell a cheap cigar, and maybe see a ring with a glass topaz being waved around.

And yes, Hough's claims of "authenticity" are a laugh. Just put on Rach's old recordings and hear the difference. Astonishing. Not that everyone should (or could) play like Rach. But then, not everyone claims they do, now do they?

Also laughable, in my opinion, are comments about "heart-wrenching" soul in these performances. What soul? Maybe if you've never heard these pieces before, they sound emotional here. But it seems to me the big distinction of these interpretations is that they completely dispense with the "soul and emotion" side of this music. (There is some superficial color in the Fourth Concerto, though, which I guess passes for soulfulness.)

Save your coins.

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