Named All-Time Best Recording of the All-Night Vigil by BBC Music Magazine!

Gloriae Dei Cantores releases All-Night Vigil, Op. 37 by Sergei Rachmaninoff, conducted by Peter Jermihov (internationally recognized specialist in Russian and Orthodox Liturgical music). Rachmaninoff’s All Night Vigil is made up of texts taken from the Russian Orthodox All-night vigil ceremony. Critics praised the work as Rachmaninoff’s finest achievement and “the greatest musical achievement of the Russian Orthodox Church.” It was also one of the composer’s favorite compositions, and the fifth movement was sung at his funeral. Gloriae Dei Cantores is joined by members of the St. Romanos Cappella, The Patriarch Tikhon Choir, and The Washington Master Chorale. Protodeacon under the First Hierarch of the Russian Orthodox Church, Vadim Gan, sings the clergy exclamations as well as Dmitry Ivanchenko. Soloists, Dmitry Ivanchenko and Mariya Berezovska, from the National Opera of Ukraine in Kiev, join the choir of 77 singers for this landmark collaboration and recording.

REVIEWS:

This new recording has the essential sound of the Russian choirs, with their bass-centered sonority, and tempos which allow the music to unfold in the measured pace of a devotional service. Better yet, the text-based spiritual approach to the music...stirs at least as deeply as [the] ...Russian recordings. While referring to the texts, you will have the pleasure of seeing the gorgeously illustrated booklet, with a background on each hymn and photographs of Russian churches, countryside and icons. The result is one of the very finest recordings this work has ever received.

--Ronald E. Grames, Fanfare

A landmark recording, one that is destined to become the new standard for this work. And if you don't know the Rachmaninoff "All-Night Vigil " yet, THIS is the recording you should get to begin your acquaintance. You will have to wait a long time before something better comes along!"

-- Vladimir Morosan, Musica Russica

We are invited to lift our spirits through a deeply inspired performance of Rachmaninoff's All-Night Vigil. This performance rings with devotional majesty . . . The stunning surround sound comes to us through the combined efforts of Keith O. Johnson and Sean Royce Martin.

-- Gary Lemco, Audiophile Audition

"Recording of the Month... A splendid achievement."

-- MusicWeb International

"An exemplary performance... a superlative recording... beyond glorious."

-- The Buffalo News

Also available on Blu-ray

Exactly 80 years before the Opening Concert of the 2019 Lucerne Festival, Sergei Rachmaninoff himself appeared for the first time on August 11, 1939 at the "International Music Festival Weeks". The roaring success of the performance stands in direct contrast to the need for retreat, seclusion and concentration that the star pianist sought as a composer. Marking three stages in his career, the concerto, étude, vocalise and symphony presented in 2019 take the listener to these places of retreat. And yet, they call to mind phenomena of public perception that still influence the way they are received today. In their diversity, these works invite us to appreciate the versatility of this extraordinary artist, to question, break through and expand patterns of perception.

REVIEW:

The pianist is musically involved, and so is Chailly. However unexpectedly, they form a superb partnership, and the entire reading is suffused with unabashed Romanticism. Matsuev shows himself perfectly willing to play delicate passages with the appropriate lyricism. The opening theme is unusually gentle, in fact. The impression of effortless virtuosity is especially vivid in the finale, where the pianist is magisterial. I would call this a Gilels-like performance in its authority and breadth rather than an electrifying Horowitz-like one. But it’s thrilling nonetheless.

– Fanfare

The major work in this second album of Rachmaninov’s works in the Russian Piano series is the First Sonata, a pinnacle of high late Romanticism. Less well known are the Moments Musicaux but they too are masterful pieces. Alfonso Soldano is professor of piano performance at the Giordano Conservatory in Foggia, Italy, following similar posts at Santa Cecilia Academy in Rome and in Trani. He was a student of Ciccolini and is renowned for his virtuosity. He was awarded the International Gold Medal for ‘Best Italian Artist’ in 2013 and has won many other competitions and is also a busy writer and transcriber. His previous recordings for Divine Art, of the music of Bortkiewicz and Castelnuovo-Tedesco, received glowing reviews. His Rachmaninov (Rachmaninoff for the American readers!) is equally magical.

This release from the Saint Louis Symphony Orchestra and Chorus with Leonard Slatkin conducting presents two dark works by Sergei Rachmaninoff. The first is the choral symphony The Bells Op. 35. Written in 1913, the words are taken from the poem ‘The Bells’ by Edgar Allan Poe. Symbolist poet Konstantin Balmont translated the poem loosely into Russian. The Bells is joined on this release by the tone poem Isle of the Dead Op. 29. This work was inspired by a black and white reproduction of Arnold Bocklin’s painting of the same name, which Rachmaninoff viewed in Paris in 1907. The common thread that can be heard throughout both of these pieces is the use of the Gregorian plainchant, the Dies Irae, used as an allusion to death.

On the occasion of its 25th Birthday Anniversary, the Piano Duo Genova & Dimitrov realizes this year a fervent wish with a genuine mammoth project taking the pianists to their emotional limits in a form that has never been witnessed in the music world before: the two exceptional artists have recorded on cpo Sergei Rachmaninoff’s Complete Works for Piano Duo as a double album. The manifold colors in these pieces full of musical ideas are just spectacular… truly a captivating affair of the heart and an hommage to their idol Rachmaninoff. But nobody can describe this music better than the pianists themselves: "Rachmaninoff's Second Suite, Schubert's Fantasy, Mozart's Sonata!, this was the authoritative answer that we, being Postgraduate students at the Hanover University of Music, received at the end of 1995 from our teacher, the piano legend Vladimir Krainev, to our question which works we could prepare for our first piano duo competition. At that time, we would have never imagined that almost 25 years later from these few words the idea for this grand project would develop – a project we are now so particularly proud of." And justifiably so. Their impressive interpretations of the whole wide range of diverse compositions display Rachmaninoff’s multifacetedness in all its emotionally incredible, supercharged glory.

REVIEW:

This is a useful release from a discographical standpoint in that it accounts for every Rachmaninov two-piano and one-piano-four-hands composition or arrangement. The Genova & Dimitrov Piano Duo plays the Suite No. 1’s opening Barcarolle with less rubato leeway compared to Trifonov/Babayan and Ashkenazy/Previn. Although comparable strictness prevents the second movement from spilling all over the place, the players still allow the busy decorative background writing plenty of breathing space. The final two movements are excellently balanced, and it’s nice to hear the finale’s persistent “bell” ostinato roll out in long lined fashion, rather than hammered away.

The duo’s superb ensemble and careful balances make Rachmaninov’s early tone poem The Rock sound especially plausible and idiomatic in the composer’s “de-orchestrated” four-hand arrangement, although his Capriccio on Gypsy Themes loses some spice in translation, so to speak; it would have helped had Rachmaninov retained some of his original percussion parts! However, the ubiquitous C-sharp minor Prelude frankly gains little via its two-piano expansion.

I prefer the Genova/Dimitrov duo’s broader and lyrically inflected rendition of the not-so-interesting Russian Rhapsody to the heavier, emphatic Previn/Ashkenazy, while their expressive restraint in the Six Morceaux for Piano Duet contrasts to the Owen/Apekisheva duo’s slightly fussier approach. The Symphonic Dances stand out for Genova/Dimitrov’s wonderfully lithe and impetuously phrased finale.

Unfortunately the popular Suite No. 2 for Two Pianos proves this collection’s one real weak link. The Introduction transpires heavy-handedly, while the Waltz falls into predictable square-cut patterns and Tarantella lacks sufficient dynamic contrast. You’ll find far more flexibility and character in any of Martha Argerich’s Second Suite recordings (my favorites are the studio version with Nelson Freire and the live Gabriela Montero collaboration). Eckhardt van den Hoogen provides informative yet eccentric and stylistically convoluted booklet notes. Recommended on the whole, but make sure you’ve got an Argerich Second Suite handy.

– ClassicsToday (Je Distler)

Sergei Rachmaninov was one of the twentieth century’s outstanding pianists, but the large body of purely orchestral music he composed is no less an expression of his musical character. His great strength was that he managed to preserve intact a vision he had discovered very early in life. This contemporary of Schoenberg, Scriabin, Ravel and Ives was unconcerned with musical fashions and had no wish to be a pioneer. Instead, and over a period of half a century he refined and deepened a language which derived naturally from his late-nineteenth-century Russian background.

With this four-disc box set, the Singapore Symphony Orchestra and Lan Shui present a comprehensive collection of Rachmaninov’s music for orchestra – from the Scherzo in D minor, his first surviving piece for orchestra, completed just before his fifteenth birthday to the canonical works: the Symphonies and the Symphonic Dances. The recordings were made between 2008 and 2015, with the three symphonies (previously released on separate albums) described as ‘eine formidable Gesamteinspielung’ on the website Pizzicato. But there is much more to Rachmaninov’s orchestral music besides the symphonies, and this box offers the listener opportunity to explore the young composer’s fascination with Gypsy themes (in the excerpts from the opera Aleko and Capriccio bohemien) as well as his lifelong preoccupation with death, in the form of the four notes of the Dies irae plainchant motif. This is heard again and again in Rachmaninov’s music, up until his very last work, the Symphonic Dances, where, at the very end of the third and final dance, this symbol of death is finally laid to rest.

REVIEWS:

It would be difficult to imagine a more compelling or indeed idiomatic account of the First Symphony than Shui’s...this is a first-rate set, with sound to match.

-- HiFi (UK)

LIMITED EDITION. SINGLE PRESSING ONLY.

'Fire-eating virtuoso' is how Stereo Review described the finales of the Rachmaninoff concertos recorded by pianist Rafael Orozco (1946-1996) with Edo de Waart. Collected here are the complete Philips recordings of one of Spain's piano aristocracy, winner of the 1966 Leeds Piano Competition. There is passion and poetry in equal measure, and an instinctive feeling for the ebb and flow of a phrase in these recordings of works by Chopin, Schumann, Liszt, and Rachmaninoff. Barnstorming virtuosity from a distinguished member of Spain's piano aristocracy: the complete Philips albums of Rafael Orozco include several recordings new to CD.

At age 20, Rafael Orozco came to the world's attention at the 1966 Leeds Piano Competition. The fire and poetry of his Chopin, Liszt, and Albéniz won him first prize, and then a contract with HMV/EMI which led to several acclaimed albums such as the Chopin Préludes. However, Orozco entered his full artistic maturity around the time of his recordings for Philips, made between 1972 and 1975.

A solo album of Rachmaninoff is one of the newly remastered treasures which have been forgotten over time, but it confirms the depth of Orozco's touch at the keyboard and his instinctive feeling for the ebb and flow of a phrase. Orozco projects the volatile mood-swings of Schumann's Kreisleriana while holding close control over details of line and texture.

In his booklet appreciation of Orozco, Jed Distler compares the album of Chopin's Scherzos to meeting an old friend after a long absence: 'I had forgotten the nuanced scintillation in the first Scherzo's demonic outer sections, not to mention the uncommon precision and centeredness of the triplets in No. 2's famous main theme.' He points out the coruscating impact but also strong architectural feeling of the Liszt Sonata recording which stands out among the solo repertoire on the set.

Orozco also found a meeting of minds with the young Dutch conductor Edo de Waart. Aided by transparent Philips engineering, they explored all the refinements of dialogue in concertos by Chopin, Tchaikovsky, and Rachmaninoff. His playing of them strikes a rare balance between refinement, passion and a sense of abandon. However, his Philips catalogue has rarely been reissued on CD, making this first-ever collection of his recordings for the label a valuable reminder of Orozco's place in the pantheon of Spanish pianists, alongside the likes of Alicia de Larrocha and Esteban Sánchez.

Following acclaimed performances on tour in Japan and South Korea, Robin Ticciati and the Deutsches Symphonie-Orchester Berlin have recorded one of Rachmaninov’s best-known works. In contrast with the disastrous reception of the First Symphony and the ensuing three-year compositional hiatus, the Second Symphony was a resounding success when it was premiered by the composer in 1908. Its thematic unity, archlike melodic lines, rich orchestral colours and expansive structure still inspire awe, particularly when performed by musicians of the DSO’s calibre. The score is presented in its original unabridged version which reveals Rachmaninov’s regained confidence in his power to compose and his true symphonic achievement. This exhilarating performance marks Ticciati’s sixth album with the DSO.

Twenty five years after their last recording of piano duets on Chandos, the Canadien pianists Louis Lortie and Hélène Mercier return in a watershed collection of magnificently played duets by Rachmaninoff including the two suites and an arrangement for his Symphonic Dances. The Lortie/Mercier piano duo have known one another since their early teens, and have a considerable collaborative discography that showcases their affinity for the art of 4 hands and 2 pianos performances and repertoire.