Rachmaninoff: Piano Concerto No. 2/Symphony No. 3

On this CD:

1. Piano Concerto No. 2 in C minor, Op. 18
Composed by Sergey Rachmaninov
Performed by Moscow Philharmonic Symphony Orchestra with Eun Soo Son
Conducted by Mark Ermler

2. Symphony No. 3 in A minor, Op. 44
Composed by Sergey Rachmaninov
Performed by Moscow Philharmonic Symphony Orchestra with Eun Soo Son
Conducted by Mark Ermler

Tracks:

Vocalise, Op. 34, No. 14
Piano Concerto No. 2 In C Minor, Op. 18: III. Allegro scherzando
Rhapsody On A Theme Of Paganini, Op. 43: 18th Variation
Symphony No. 2 In E Minor, Op. 27: III. Adagio
Prelude In G Minor, Op. 23, No. 5
Prelude In G-Sharp Minor, Op. 32, No. 12
Prelude in C-sharp minor, Op. 3, No. 2
Cello Sonata In G Minor, Op. 19: II. Allegro scherzando
Etude-tableau In D Major, Op. 39, No. 9
Six Pieces, Op. 11: Scherzo
Six Pieces, Op. 11: Slava
Symphonic Dances, Op. 45: III. Lento assai

Customer Reviews:

Yes.......2003-04-03

This is a marvelous collection. There were a few pieces I wish that it would include, such as the rest of his Piano Concerto No.2, or perhaps The Rock, but the fact that the performances are generally great and the recording quality is near-perfect makes up for that.

I would recommend this to anyone who is just starting to become interested in the works of Sergei Rachmaninov.

A decent introduction to the music of Rachmaninoff.......2001-08-12

Sergi Rachmaninoff was the last of the great Romantic composers, especially since the Romantic period had ended for European artists when he was at his height. Although a composer and a conductor, Rachmaninoff was also a virtuoso pianist, which explains why his best compositions feature the piano, either in solo work or with an orchestra. His "Prelude in C-Sharp Minor," which he wrote when he was 20, made him famous throughout the world. This collection also includes several other preludes, "Vocalise," and the famous 18th Variation (Andnate cantible) from Rhapsody on a Theme of Paganini. My only serious complaint about this collection as an introduction to Rachmaninoff is that it only has one movement from his Second Piano Concerto and I have other CDs that include the entire work, which I thing is a good idea.

Great Collection of "Hits".......2000-06-22

This is actually not a bad collection of Greatest Hits. Usually the problem with collections like these is that they have bad recordings and not very good performances but some of these ones are actually okay, and it features performances by Yo-Yo Ma and Emanuel Ax among others. In general these are the works of art you think of when you think of Rachmaninoff and so these pieces are a perfect representation of his style.

One of the best CD I own.......1999-12-30

This is one of the best I own. The music is so great, hard to explain...so moving, especially the first track. It reminds me of Russia a lot. I listen to it everyday while driving to work. I highly recommend it.

Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

Average customer rating:

Buy it ! (for the concerto)
The majesty of Horowitz
Exultant pianism; Faustian inspiration!
It's Horowitz. It's the best.
Absolutely sick!

Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Polkas | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

$7.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Instrumental | Classical Music Blowout | Stores | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Horowitz in Moscow
Rachmaninoff plays Rachmaninoff
Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Horowitz: The Last Recording
Horowitz Plays Scriabin

ASIN: B000003ER1
Release Date: 1989-08-10

Tracks:

Sonata No. 2, Op. 36 In B Flat Minor: Allegro agitato
Sonata No. 2, Op. 36 In B Flat Minor: Non allegro; lento
Sonata No. 2, Op. 36 In B Flat Minor: L'istesso tempo; Allegro molto
Moment musicale, Op. 16, No. 2 In E Flat Minor
Prelude, Op. 32, No. 5 In G
Polka V.R.
Concerto No. 3, Op.30 In D Minor: Allegro ma non tanto
Concerto No. 3, Op.30 In D Minor: Intermezzo: Adagio
Concerto No. 3, Op.30 In D Minor: Finale: Alla breve

Amazon.com

Yes, Virginia, Rach 3 existed before David Helfgott and Shine. Vladimir Horowitz made a recording in 1951 that continues to be the delight and despair of every pianist, notwithstanding standard cuts and minor, nerve-induced inaccuracies. The 1980 Second Sonata is looser but no less intense than Horowitz's storied 1968 CBS version, while the short pieces ooze with sex: even the Polka! --Jed Distler

Customer Reviews:

Buy it ! (for the concerto).......2006-02-01

The performance that Horowitz gives us in this '50s recording of the Rach 3 is a testament to outstanding human artistic endeavor. As Rachmaninoff said, "...he (Horowitz) swallowed it whole." Along with his pianistic pyrotechnics, Horowitz demonstrates wonderful architectural overview, inevitability, and stylistic authenticity. Truly, a recording of this concerto sui generis that should be in the libraries of all who love the piano!
The other pieces on this CD, recorded for RCA ca. the late '70s,
have an unpleasant piano sound. Franz Mohr, piano tuner for
Horowitz/Steinway during this period, discusses this issue in his
book, "My Life with the Great Pianists." Superb recordings of
these pieces are available: Piano Sonata No. 2, recording
Horowitz made for Columbia Records in the late '60s; Prelude in
G, Op. 32, Horowitz in Moscow, 1986; and Moment Musical in E flat
minor and Polka de V. R., Sergei Rachmaninoff, Great Pianists of
the 20th Century, Philips/Polygram (compiled in 1998).

The majesty of Horowitz.......2006-01-15

Musicians are reluctant to give rankings. We want to separate the classical music world from the hyped world of MTV top tens and USnews school rankings. Since this is the case why are so many pianists assert and reiterate the glory of Horowitz among 20th century pianists. After all if we are going to deviate from our tendency not to rank we should at least substantiate why Horowitz is so special.
If one dwells on it for a second the physical act of playing the piano boils down to brain finger coordination. The brain sends a message to the finger what to do next - where to move, how soft to touch the key, etc. It is extremely hard to reach a very high level of coordination. For example, if someone had 100 percent brain hand coordination in basketball they would never miss a shot.
Horowitz brain-finger coordination is just phenomenal (there are many examples of this and a classic one in my opinion is his playing of Etincelles). Imagine telling a pianist to play a 20 minute piece ONLY in pianissimo but still continaing crescendos and decrescendos within the pianissimo. For 99.9 percent of pianists, and even the great ones, this would be impossible. At some stage during this hypothetical piece they will accidentally stray into mezzo forte (or some other level). TO BE ABLE to play with such softness for a prolonged period of time is unbelievably hard because you need complete control of the fingerwork.

Critics often miss the mark when talking about Horowitz. They look at isolated concerts or recordings during his very long career that are flawed ( and admittedly Horowitz did have ups and downs). The crux of the pianist's talent lies in what he could do at the piano when he reaches the summit of his ability. If one looks at Horowitz' output within a larger context things look different.

Let me conclude with comments of the famous pianist, William Kappell:
"I'm so weak from tears and shouting, that I can hardly write.... I just heard Horowitz here in Pasadena, playing the 3rd Concerto of Rachmaninoff. The man is such a genius of the piano that it seems inhuman to play like that.... He is not a pianist, he is a magician."
Eloquent and Succinct.

Exultant pianism; Faustian inspiration!.......2005-10-22

The monumental Sonata No. 2 is possibly the most complete work of this genre emerged from Russia until this date. It possesses that effluvium and nostalgic gaze,contemplative lyricism and arresting expression that invades the listener from the first bars. Involved in the classical Romantic heritage, with a strong Lisztian influence and the majestic and elusive introspection so typical of Robert Schumann.

The celebrated Non allegro: Lento expresses this sad melodic flight where the meditation and farewell sense seems to shake hands. What it seduces me from this version is its maidenly approach; Horowitz understands the core of the work as anyone else, given this similar condition of exiled Soviet citizen and explores with acuteness and refined eloquence the inner folds, those enigmatic pianissimos and sudden outbursts of fevered poetry make of this performance the most genuine and best achieved versions that I have ever listened never before.

The Third Piano Concerto despite the fact is not my first choice is incandescent and superbly phrased. In addition we have Reiner making a sharp collaboration and showing the Russian mood underlined beneath the score. Horowitz unexplainable does not play the Diabolic Cadenza and that 's probably one the disillusioned aspects that I dislike; this Cadenza is a true firewall that stigmatizes and accents still more the febrile passion and enraptured flame of this monumental score.

In this sense no other pianist in the history has been able to reach the level of the unsurpassed, resplendent and delirious performance that William Kapell did it in 1952 in a live Concert pitifully non available in CD, due it was a live register, that I could get it thanks to a friend of mine who got a copy in Washington of a hard fan of William in 1988. Since I listened this version, became automatically in the parameter per excellence at the moment to compare some other recording.

It's Horowitz. It's the best........2005-08-25

The CD starts with the Sonata Number 2, which Rachmaninoff composed, then shortened in his later years. Horowitz came to Rachmaninoff saying that he had cut too much. Rachmaninoff agreed and had Horowitz himself add back in what he thought was appropriate. Rachmaninoff approved the changes and that became the official version. Horowitz apparently made a few more changes since the composer's death which he feels Rachmaninoff would have approved. This is the final version that appears in this recording.

There are then a few smaller but still delightful pieces. One of the Musical Moments that Rachmaninoff was apparently particularly proud of. It is done in the Horowitz style, but the piece is dissonant and swirling, even for Rachmaninoff, creating a nice contrast. It's delightful to hear Horowitz's interpretation with his melodic and bell-like tone.

The prelude is peaceful and more complementary (rather than contrasting) to Horowitz's style. Melodic, relaxed, and dreamy.

The Polka is actually based on something Rachmaninoff's father used to play. A folk melody arranged in the virtuoso Rachmaninoff style. Fascinating.

Finally we come to the Third Rachmaninoff Piano Concerto. The Rach 3 as it is known. Respected and feared by pianists the world over. It won Olga Kern the International Cliburn Competition. There are apparently a few mistakes in the piece due to nerves, but I can only hear two spots where they MIGHT be. Horowitz's interpretation emphasizes speed and lightness rather than size and weight (which Ashkenazy tends to emphasize). Horowitz plays the "light and quicksilver" cadenza rather than the heavier chordal one which is more "typical" of Rachmaninoff. I would like to hear Horowitz play the other cadenza, as well. Sometimes when Ashkenazy or other pianists play this piece, you can hear when they are no longer considering interpretation or artistry. They are merely trying to survive the piece intact. Horowitz never struggles with the piece, even though it is the hardest in the repertoire, he is always thinking, feeling, and interpreting the piece. I'm often gasping for breath, but Horowitz is always effortlessly skimming along. A marvelous playing of my favorite Rachmaninoff and my favorite piece. This is marvelous, but it is fascinating to hear other interpretations of this piece. For a more purposeful (but equally speedy) interpretation, I recommend Byron Janis. For a more ponderous weighty interpretation, I recommend Ashkenazy. Olga Kern also does well playing this piece in the Cliburn DVD. It's amazing to see it played.

Absolutely sick!.......2005-08-24

The single greatest recording by the greatest classical pianist of the modern era.

Rachmaninoff: Piano Concertos Nos. 2 & 3

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

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
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:

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

Amazon.com essential recording

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rachmaninoff for Romance: Passionate Music for Love and Desire

Average customer rating:

Tear Time
The Beauty of Rachmaninoff
Applause
Beautiful
Rachmaninoff for Romance

Rachmaninoff for Romance: Passionate Music for Love and Desire

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Chopin and Champagne: Set Your Mood for Romance
Liszt for Lovers: Piano Dreams of Love and Passion
Tchaikovsky At Tea Time: A Refreshing Blend For Body And Spirit
Debussy for Daydreaming: Music to Caress Your Innermost Thoughts
Bach for Breakfast

ASIN: B0000041DX
Release Date: 1995-10-17

Tracks:

Vocalise For Orchestra
Rhapsody On A Theme By Paganini - 18th Variation: Rhapsody On A Theme By Paganini - 18th Variation (Excerpt)
Symphony No. 2 in E minor: Symphony No. 2 In E Minor - Adagio
Piano Concerto No. 2 In C Minor: Piano Concerto No. 2 In C Minor - Adagio sostenuto
Prelude In D
Piano Concerto No. 3 In D Minor: Piano Concerto No. 3 In D Minor - Intermezzo (Adagio)
Symphonic Dance: Symphonic Dance - I. Non Allegro (excerpt)
Piano Concerto No. 1 In F - Sharp Minor: Piano Concerto No. 1 In F - Sharp Minor - Andante
Prelude In E-Flat
Piano Concerto No.4 In G Minor: Piano Concerto No.4 In G Minor - Largo
Piano Concerto No. 2 In C Minor: Piano Concerto No. 2 In C Minor - Allegro scherzando (Excerpt)

Customer Reviews:

Tear Time.......2007-05-09

Find your loved one, get some tissue and escape into a world of desire and fantasy. All ages will love this music. Tender, soft, and relaxing with the hint of being alive again.

Donald Lindsey

The Beauty of Rachmaninoff.......2006-11-10

This album contains some of Rachmaninoff's most beautiful and romantic music which should appeal to everyone, even if you're not a classical music fan. The performances are first rate and you may even shed a few tears listening to this very emotional music. These excerpts from some of Rachmaninoff's major works may induce you to want the entire compositions for your collection.

Applause.......2002-03-12

I'll add my applause to these reviews. It's an elegant collection of Rachmaninov pieces. Simply beautiful.

Beautiful.......2001-05-21

If you are a Rachmaninov fan, this CD is a must. Of all the CD's I have of Rachmaninov, this is my favorite. The orchestra's that perform capture the essence of what he composed. It is a beautiful CD guaranteed to please. As the back of the CD states, "Rachmaninov and romance go together like Romeo and Juliet"

Rachmaninoff for Romance.......2000-04-25

I purchased this CD primarily for Trac#2--Rhapsody on a Theme by Paganini-18th Variation. I wasn't disapointed! The whole cd is very relaxing and definitly puts you in the mood. I thought the cd would contain only piano music but there are many well-orchestrated and dramatic tracs.

Average customer rating:

The Best
Buy This Now!!!!

Rachmaninoff for Relaxation

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

$7.99 and Under | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music

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

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

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Debussy for Relaxation
Chopin For Relaxation
Vivaldi for Relaxation
Mozart for Relaxation
Bach for Relaxation

ASIN: B00005KCGZ
Release Date: 2001-06-19

Tracks:

Rhap On A Theme Of Paganini, Op.43: Var 18 - Dmitri Alexeev
Sym No.2 in e, Op.27: III. Adagio - The Philadelphia Orch/Eugene Ormandy
Prld in G, Op.32 No.5 - Alexis Weissenberg
Vocalise, Op.34 No.14 - Anna Moffo
Prld in F - Mikhail Kazakevich
Prld in D, Op.23 No.4 - Barry Douglas
Prld in E-flat, Op.23 No.6 - Barry Douglas
Vc Con in g, Op.19: III. Andante - Janos Starker/Shigeo Neriki
It's Peaceful Here, Op.21 No.7 - Vladimir Spivakov/Sergei Bezrodny
Pno On No.1 in f#, Op.1: II. Andante - Byron Janis
Pno Con No.2 in c, Op.18: II. Adagio Sostenuto - Barry Douglas

Customer Reviews:

The Best.......2002-08-31

I thought this was so good, especially tracks 8 thru 11 that I bought copies for my six siblings.

Buy This Now!!!!.......2001-09-07

This is a beautiful work by the master composer Rachmaninoff. I have been a fan of his work, but when I heard this recording it nearly blew me away. Listen to Vocalise - the beauty of this track is what sold me on the rest of the album.

Average customer rating:

Rachmaninoff's Masterpieces
superb
Great Piano Fireworks
Rhapsody is best
No. of concerto is wrong

The Best Of Rachmaninoff

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

More Titles at Least 20% Off | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Instrumental | Classical Music Blowout | Stores | Music
Similar Items:

Rachmaninoff Plays Rachmaninoff
Serge Rachmaninoff: Piano Concertos Nos. 1-4/Rhapsody On A Theme By Paganini
Rachmaninoff plays Rachmaninoff
Tchaikovsky: Symphonies no 4, 5, & 6 / Karajan, Berlin PO
Rachmaninov: Piano Concertos Nos. 2 & 3

ASIN: B00000416Q
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
Rhapsody On A Theme By Paganini, Op. 43
Vocalise, Op. 34 No.14
Liebesleid
Prelude in C sharp minor, Op.3 No.2
Prelude in G minor, Op. 23 No.5

Tracks:

Symphony No.2, Op.27: 1. Largo - Allegro moderato
Symphony No.2, Op.27: 2. Allegro molto
Symphony No.2, Op.27: 3. Adagio
Symphony No.2, Op.27: 4. Allegro vivace
The Isle of the Dead, Op. 29

Customer Reviews:

Rachmaninoff's Masterpieces.......2005-11-13

Sergei Rachmaninoff remains the most celebrated of the modern Russian composers who retained the spirit of Romantics like Tchaikovsky. In this fabulous recording from the Phillips Label, we are treated to his most cherished piano/orchestral masterpieces. They include the incomparable Piano Concerto No. 2 in C Minor, as performed by the Royal Philharmonic with Spanish pianist Rafael Orozco and conducted by Edo De Waart. This piano concerto is grand in scale and at times borders on Beethovenesque melody. It's dark and brooding and supremely romantic. It was prominently featured in the David Lean 1940'ish film "Brief Encounter" about a romance that is forged on a train ride. The most famous piece associated with the great Rachmaninoff is his Rhapsody On A Theme Of Paganini for Piano and Orchestra. Lush, sweeping romantic melodies sigh and stir on the piano and escalate into voluminous beauty in the orchestra. Upon hearing it, you will recognize it for sure. The Vocalise was originally a piano piece, at times resembling a sort of modern Moonlight Sonata, with a long haunting melodic line, but has become famous as a concert aria and sopranos like Renee Fleming still sing the aria today. As most piano composers tend to do, Rachmaninov transcribed works from other composers for piano and here we hear his lovely piano version of Kreisler's violin work "Liebeslied" or "Love Song". Beautiful! The Preludes are works of tonal beauty and nocturnal moods. Orozco is truly gifted on the piano. Years of training sharpened his musical talents so that he mastered the piano and Rachmaninoff especially. He knows Rachmaninoff's music intimately. He uses flowing rubato and handles the music with a sacred spirit. He breathes life into the works and never succumbs to mechanical playing. Instead, we get colorful musical portraits, complete with evocative imagery, such as in the Isle of the Dead, a symphonic poem that is also terrific in orchestral form. The Symphony No. 2 is another brilliant piece on here. Overall, a fine album and the quality of sound is excellent. At an affordable price, this is a treasure.

superb.......2005-09-17

Out of my huge collection of classical music, I find these disks being played more often than almost all the rest!

Great Piano Fireworks.......2004-02-05

This is my favorite recording of Rachmaninov's 2nd! Orozco and de Waart are thrilling right from the very first note. I keep flipping back to Track 1 just to hear the passionate opening movement! I have Ashkenzy, Vasary, and Entremont's recordings of this piece. The spacious engineering and Orozco's riveting performance keep me coming back to this one! The reading of the Rhapsody is also one of my favorites. I have a special attachment to this work, and these performances do not disappoint my picky taste. I hate to say it, but Orozco's technique and interpretation of the Rhapsody rival the performance with Rachmaninov as soloist with the Phila. Orch.
The other pieces in this "two-fer" are exceptional performances as well. I especially love Orozco's brilliance and technique in the G minor prelude--why couldn't I play it like that in piano lessons??? The Vocalise and Liebeslied are lovely arrangments.
For this price, this set is absolutely essential to anyone interested in Classical music! This is THE recording to have!

Rhapsody is best.......2004-01-19

This performance of the Rhapsody is absolutely amazing! The Concerto 2 is pretty intense as well, but get it for the Rhapsody -- it is worth it!

No. of concerto is wrong.......2004-01-04

I thing you made a mistake on your homepage.
The correct title is "Piano Concerto No.2" on "Listen to Sample" as below.

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

Bob Zeidler

Rachmaninov: Complete Piano Concertos/Rhapsody

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.

Rachmaninoff: Piano Concerto No. 3, Op. 30 / Suite No. 2 for two pianos

Average customer rating:

An Ear Opener
Dazzling but Uneven
Prefer Kissin
Argerich and Rachmaninov: A Coupling to Beat
A Rach 3 For The Ages

Rachmaninoff: Piano Concerto No. 3, Op. 30 / Suite No. 2 for two pianos
Riccardo Chailly , Nelson Freire , and Radio-Symphonie-Orchester Berlin
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Martha Argerich Plays Chopin: The Legendary 1965 Recording
Debut Recital / Martha Argerich
Prokofiev, Ravel: Piano Concertos, etc / Martha Argerich
Ravel/Rachmaninov: Piano Concertos
Chopin, Liszt: Piano Concertos / Martha Argerich, London Symphony Orchestra

ASIN: B00005CCA9
Release Date: 2001-05-08

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
Suite No.2 For Two Pianos, Op.17: I. introduction: All marcia
Suite No.2 For Two Pianos, Op.17: II. Valse: Presto
Suite No.2 For Two Pianos, Op.17: III. Romance: Andantino
Suite No.2 For Two Pianos, Op.17: IV. Tarantella: Presto

Amazon.com essential recording

If ever there was a high-voltage, wildly passionate performance of Rachmaninov's massive Concerto, this is it. Argerich plays with incredible virtuosity and a spontaneity that almost sounds as if she's improvising the keyboard part on the spot. The finale alone would make this a uniquely electrifying performance, but her quicksilver opening movement and soulful intermezzo are on the same extraordinary level. Amazingly, especially for a live performance, Chailly and his orchestra, instead of floundering to catch up, are with her 100 percent. In the Suite, Argerich is joined by longtime stage partner Nelson Freire in a 1982 studio recording made a few months before the Concerto. There's a plethora of excitement here as well, and if the waltz movement pushes close to the speed limit, the Andantino milks exquisite beauties from the work. This is one of those classic discs you'll never get tired of hearing. --Dan Davis

Customer Reviews:

An Ear Opener.......2005-07-28

I am always a little hesitant about posting reviews of classical works. Ironically--although I cut my teeth on rock'n'roll and folk--I find that I mostly listen to classical music these days. My ex-wife used to have it on all the time, and one day, it seemed, I suddenly realized that I could really HEAR it and understand what was going on. Even if I lacked the vocabulary to describe it, on some level, I comprehended it. (A mini-miracle after almost having failed "Music Appreciation" in college: just because, on one exam, I cited "Never Can Say Goodbye" as an example of a "cantata.")

But serioiusly, I live in a region that it still lucky enough to have 24 hour classical music on public radio. It has been an education in itself. I'm so grateful for it and have become an avid supporter. (BTW WMHT in Schenectady, NY is now available online as a webcast, so if you're living in an area that is underserved, try tuning them in.)

But one thing I have noticed--even after all the fuss over Rachmaninoff a few years back due to the use of the Rach 3 in the film SHINE--there is relatively little Rachmaninoff on my local NPR station. It seems like such an obvious choice. This recording in particular, since it seems like every second piano piece they play is by Martha Argerich.

Reading over someof the reviews posted below, I can well understand why some critics find Argerich's performance to be definitive...and also why others dispute that assertion. I don't want to be wishy-washy here, but as a babe in the classical woods, I cannot help but be overwhelmed by Argerich's virtuosity. But I can also understand why some might find it too flashy. One of the beautiful things about classical music though--I am discovering--is that there is much more room for interpretation than I had ever imagined. Does there need to be a definitive version? Listening to the Argerich/Freire/Chailly collaboration has only made me more curious to hear others.

This could be the start of something big.

Dazzling but Uneven.......2005-01-22

I fell in love with the Rach 3 in the early 60's listening to the Byron Janis recording on Mercury. I have listened to Van Cliburn's ponderous recording, as well as the arthritic Horowitz recording and the master's own recordings. The first test I have for a piano virtuoso who records this piece is the alla marcia in the first movement - is it in tempo or has it been slowed down? Rachmaninoff, Janis, Argerich and Sgouros all take it in tempo. The other reviews are correct, this is a dazzling performance - electrifying with virtuosic tempi. The liner notes state this was recorded live in Berlin in 1982 - given Ms Argerich's reputation as possibly the world's finest classically trained pianist it must have been a spectacular performance live! It certainly is spectacular on CD - however, Ms Argerich pulls her punches - she does the shortened version of the first movement cadenza. THere are moments when I felt that she decided to be especially visrtuosic so she races furiouisly through a passsage Cossack-like only to slow down like the Volga - it was jarring given other perrormers more lyrical approach. All three movements are performed in roughly 40 minutes. Since this was recorded in Berlin and the Sgouros recording was with the BPO, I can imagine a 13 y/o Dimitri Sgouros sitting in the audience being inspired by Ms Argerich's performance - he did after all record it two years later when he was 15 and he took the longer first movement cadenza! The Sgourous recording is also about 40 minutes long. But to accomodate the the longer cadenza the tempi are necessarily faster. Maybe Sgouros hasn't lived up to the promise of this Rach 3 recording - but his performance is the best out there (if you can find it) - if you can't this is a reasonable second choice.

Prefer Kissin.......2004-06-17

Okay, I'm not adept at the classical music critic's "lingo" and so can't and won't go on about all the technical aspects of Argergich's performance. Certainly her virtuosity and speed in some passages was impressive, but missing from much of the performance for me was a sense of musicality. I did not feel moved by her performance as I did with Kissin. For those who want a performance that conveys more feeling and emotion, go with Kissin's performance. If you want speed and flash, get this one.

Argerich and Rachmaninov: A Coupling to Beat.......2004-03-17

The sensationally gifted pianist Martha Argerich, with two decades of classical music stardom (if there is such a thing) already behind her, took the Berlin audience by storm with this passionate recording of the very difficult Rachmaninov Third Concerto in 1982. Ever since, it's easy to see why -- her fiery personality and virtuoso pianism are flat-out sweeping and as the Amazon.com reviewer points out, physically exciting indeed. The orchestra under Riccardo Chailly needs a while to grow accustomed to Argerich's trail-blazing tempo, but once they do, it makes for all the better listening experience. Which does not mean to say she's incapable of playing slowly -- quite the opposite. A listener is more than willing to forgive her a couple of missed notes, especially in the first movement; rather, the climax of the closing Finale may just leave you breathless and forget anything else. The studio-recorded suite for two pianos is another treat and Argerich's fellow Argentinian Nelson Freire more than holds his own with her. (Although the more expensive CD with the same Third Concerto and Tchaikovsky's First is more preferred, the rare suite deserves having!) Simply put, this is a must for Rachmaninov fans, Argerich fans and probably classical music fans, too.

A Rach 3 For The Ages.......2004-02-21

Argerich achieves a level of excitement, propulsion, and drama that is astounding to behold. Her performance of Rach 3 is infused with a relentless virtuosity coupled with an inspired artistry. This recording, alone, would have made Argerich a piano legend.

I believe the spirit of the Rach 3 allows for two different, yet complementary, approaches to interpretation: one that is poetic, reflective, and reposeful; another that is assertive, unabashedly passionate, and extroverted. The wondrously expansive Van Cliburn live recording from 1958 (made just 2 days after his triumphant return from the Tchaikovsky competition!) is an ideal example of the first approach. The powerhouse performance by Argerich on this disc represents the latter. Of course, both readings contain elements of poetry and bravura, but I'm referring to the overall character of the interpretation.

Whereas Cliburn exhibits a refined and restrained romanticism, Argerich bears a naked lustfulness that would make one blush. There is an unmistakable and highly-charged eroticism in the Rach 3 that Argerich brings forth which makes any of the Horowitz versions seem like comparative models of Victorian propriety. The comparison is akin to undressing your lover one button at a time versus tearing the shirt clean off in a fit of unfettered passion.

Consider, as one example, the ascending chordal thrusts in the first "mezzo forte" section in the last movement (eight bars after the famous glissando). Argerich turns what usually is a rhythmically labored section for other pianists into an explosion of kinetic excitement. Just hearing this section alone made me want to buy the CD because it revealed a conception of the Rach I never before encountered - a reading of unsurpassed verve and high-wire confidence. This is pianism at its most primal and viscerally compelling.

Yes, there are mistakes to be found: a wrong note here and there; a synchronization problem before a third-movement orchestral tutti; a missed cue at the cadenza in the last movement; and some muddled passage work where notes are either blurred or almost inaudible. There are times when one wishes Argerich would give equal prominence to the left hand such as in the electrifying "a tempo come prima" section in - again - the last movement (where Rachmaninov, in a fit of compositional swagger, unleashes a torrent of sixteenth and thirty-second notes over a static and tranquil orchestral support; the image is that of a peaceful ocean deep whose inhabitants are unaware of the hurricane raging on the surface; the way Rachmaninov concludes this audacious section is the musical equivalent of a rapidly spinning top winding down to a sudden stop).

Yet, there are voices and textures Argerich highlights to beautiful effect in other places that are all but absent in other recordings. Her relatively small fingers forces her to break some chords in the short cadenza preceding the "Tempo I. Alla breve," in the third movement, but, otherwise, she clutches Rachmaninov's hefty chords by the fistful. Her playing is among the most muscular of any pianist, including Horowitz or Earl Wild.

I'll conclude with one comment on a part of the work that is hardly ever referred to, yet is one of the most achingly beautiful in the entire concerto. It is the "Moderato" section that occurs after the first movement cadenza. A further restatement and development of the movement's lyrical second subject, it takes place soon after the point where the piano (playing an accompaniment based on arpeggio figures) and a succession of woodwinds (reminiscing on the movement's first theme) engage in a tender duet. Rachmaninov rewrites the last note of each measure of the second subject restatement a third interval lower, thus creating an extraordinary feeling of emotional denouement. The second subject is the heart of the first movement, and its inspired treatment here represents the culmination of a fantastic musical journey. Yes, the final "Tempo I" recapitulation section restates the first theme, thus closing the circle, and soon brings the movement to its technical conclusion; but, in a profound way, the emotional conclusion occurs in the above "Moderato" section.

Martha Argerich brings this section off in the most soul-stirring fashion imaginable. It's better than Cliburn's treatment (although his is fine in its own way), and it exposes the Horowitz versions as stilted and over-mannered. In that moment, Argerich ensured that the most exciting and rapturous Rach 3 was also the most meaningful and touching.

Tracks:

Piano Concerto No. 3, Op.30: Allegro ma non tanto
Piano Concerto No. 3, Op.30: Intermezzo: Adagio
Piano Concerto No. 3, Op.30: L'istesso tempo; Finale: Alla breve
Vocalise, Op. 34 No. 14
Prelude, Op. 23 No. 2 In B Flat

Customer Reviews:

Beuatifull & Sensitive Performance, Orchestra Sounds Great.......2007-03-16

I was at the Shostakovich wing at Rhapsody and hit the play button for Symphony 8 and for some strange reason this concerto started playing. The info provided said merely that it was Rachmaninoff's 3rd piano concerto and did not give artist or orchestra info. This was my first time hearing this concerto so I am no expert, but I enjoyed it greatly! I have heard Kissin's performance of Tchaikovsky's first with Karajan and this concerto is quite a bit different. It is more beautiful and serene and a little moody at times and far less the emotional rollercoster that is Tchaikovsky's first PC. The Orchestra sounds beautiful too! The strings sound sooo sweet. I was enthralled enough by the playing that I wanted more info so I bipped over to Amazon. Kissin is well known for his play of Chopin and he brings a Chopin-esque touch to this concerto. Having heard his Tchaikovsky performance, I know he can bring down the house too when the music calls for it.

The piece, Vocalise, that follows the concerto is well suited to the mood of the concerto. Prelude 2 is a bit more spirited. Though this is a short piece, it is a real hoot. All the music on this disk highlight Rachmaninoff as a 19th century Romantic rather than a 20th century modernist.

Good performance ....but not extraordinary.......2005-12-28

I'm a big fan of Martha Argerich's Rach 3, and am, perhaps yet to come across a recording which surpasses her monumental 1982/w Chailly recording. Kissin here does pretty well, though I personally do not appreciate the slower tempi chosen by him..it just doesen't seem to harmonise with his own individuality as observed in his other recordings. Maybe his teacher had an (over)influence in this interpretation.
However, this recording has got arguably the best last 3 minutes or so ...the orchestra work by Ozawa is simply phenomenal and the ecstatic heights to which the coda is pulled and lured into is truly mesmerising. That was the only bit the slow tempo seemed to fit really well !
In all, its a good performance, but there are many better ones.

An Amazing Performance of Rach 3.......2005-09-06

I must confess, the first time I heard Evgeny Kissin's interpretation of this formidable concerto, I was left disappointed. At the time, Martha Argerich's recording was the best in my mind. Like many of the reviewers here, I felt Kissin's performance was painfully slow at the opening of the first movement, and especially so in the opening of the third. After hearing several versions of this concerto, I know longer consider Argerich's to be the best (It's still up there, though). Rather, I have learned to appreciate the more poetic version Kissin presents. Don't let other reviewers fool you; there are still plenty of fireworks in this recording. Kissin's performance of the cadenza in the first movement is astounding, huge sound and very passionate. The whole second movement has a great, sweeping sound, with perfect phrasing. And the third is flashy, but with a slower tempo. This solemn recording is exactly how Rachmaninoff envisioned it. Other great recordings of this concerto are by Mikhail Pletnev and Olga Kern (STAY AWAY FROM THE RECORDINGS BY LANG LANG AND DAVID HELFGOTT).

A show-off piece with a lyrical performance.......2004-06-09

Yeah, many of you are saying the Rach 3 should not be played lyrically. However, many of you are also inane. Rachmaninoff would turn over in his grave if he heard this. Sure, I like Horowitz's and Van Cliburn's performances better (but those are unbeatable), but I have certainly been a fan of this recording for a long time. The highlight of this CD is the ossia in measures 273 through 275 of the third movement. It's only symbolic of Kissin accepting the greater challenge, and tackling it quite mightily I must say. But, my point was that this piece can be played poetically and it can be played virtuosically. But Kissin accomplishes both. Maybe not as virtuosic as Cliburn or Horowitz, but certainly darn close enough for me.

And let us not forget the encores. The Vocalise arrangement is astoundingly spacious and beautiful. The B-flat prelude is one of the hardest he wrote, as I am learning a few of the Opus 23 ones. The ease with which Kissin plays those mind-boggling passages is obvious and the result: fantastic.

Rach 3? No place to showcase your poetic & lyrical side.......2003-07-03

Kissin displayed such abilities at an early age, it was hard not to imagine he would live his life at the top level virtuosity.

I bought Kissin's Rach 3 because I have never been impressed by Kissin; The quality of his playing is uneven, with the main problem that strikes me, is that he often seems to lack a sense of certain works as a coherent whole.

Kissen's Rach 3 has been around for 10 years or so, but I never got around to hearing it. I listened to it recently and was completely disappointed.

Kissen plays the entire work more or less understated. The conducting by Ozawa is outstanding in the sense it supports Kissin's approach to the work.

But Kissin's approach to the work is the problem. He plays slowly and softly, and I seems to me he is attempting to focus on the lyrical and poetic aspacts of the work.

A poetic, understated and lyrical and poetic Rach 3. Is Kissin kidding? This a work where the big boys and girls get a chance to show what they can do. Perhaps Kissin thought he found a legitimate new way to approach the work.

However whatever Kissin was trying do it didn't work. With the works natural emotional high points smoothed out, there was nothing left but a flat CD, that doesn't say a single thing new. I found it flat and boring throughout.

There are quite a few outstanding Rach 3 recordings out there, but this isn't one of them.

If you a Rach 3, the 1951 Horowitz studio recording, and the 1958 live performane by Van Cliburn jump to mind. A lyric and poetic approach is fine for many works but certainly not this one.

Kissin had a perfect opportunity to demonstrate he was one the the big dogs on the block, and strut his stuff. He didn't do it, and believe he can't do it. Time will tell if Kissin develops, but in the meantime stay away from this on. I also like the 1999 recording of the Rach 3 by Arcadi Volodos, recorded live with the Berlin Philharmonic.

Music Review:

Music Review

music review

Music Review

House Ball V.5 [Import]

Mozart: Piano Concerto Nos. 20 & 21

MASTERS OF THE MOZART ERA: 3CD Special Set

Second Star to the Right: Salute to Walt Disney [Live]

Man [CD-single] [Import]

L' Amore Sia Con Te

More Grand Old Gospel

Pablo Honey

Isso E Bossa Nova, Vol. 4 [Import]

Purcell - Dido & Æneas / Gens, Marin-Degor, N. Berg, Brua, Daneman, Fouchécourt, Mechaly, Les Arts Florissants, Christie

Quintet Sessions

New Age Music: (12) Trieze Cigarettes

Lost for Words (Enhanced) [CD-single] [Import]

You Remind Me

Friday Night in San Francisco