Apart from Idil Biret's "culturally, historically or aesthetically significant" performance of Rachmaninoff's 3rd Piano Concerto with the Boston Symphony Orchestra conducted by Erich Leinsdorf on 22 November 1963, another memorable performance of the 3rd Concerto was at the Istanbul Festival in July 1983 with the Leningrad Orchestra conducted by Alexander Dimitreev. After her performance the orchestra's conductor Alexander Dimitriev visited Idil Biret at her home and said the following: "We were quite intrigued when we learnt that you wanted to perform Rachmaninoff's 3rd Piano Concerto with our orchestra as women rarely play this work. I now want to thank you for your wonderful performance yesterday. There is no woman today in the Soviet Union who can play this work the masterly way you did. The number of men who can do so are limited in number to the fingers of hand."
On 22 November 1963 at Idil Biret's US debut with the Boston Symphony Orchestra conducted by Erich Leinsdorf she played Rachmaninoff's 3rd Concerto. The concert was scheduled for 2.00pm. The tragic death of President Kennedy was announced during the concert. Despite the electrified atmosphere which can be sensed in the recording, the audience, many in tears, then heard a stunning performance of the concerto which was broadcast live to the nation from Boston and rebroadcast the next day from New York - "There was a buoyant quality to Idil Biret's playing, a great warmth of tone was in no way dispelled by her technical skill... she gave us power without a bang, emotion without a sentimental tear. There is no question that Miss Biret is one of the most extraordinary musicians and many of her listeners testified to her artistry by giving her a standing ovation."
The fourth installment of Rendez-vous with Martha Argerich brings new fascinating recordings from the international Festival Martha Argerich in Hamburg, showcasing a superb lineup of soloists among which Lily, Sascha and Mischa Maisky, Edgar Moreau, Rosanne Philippens, Akane Sakai, Michael Volle and Sergio Tiempo. Particularly noteworthy are the highlights of a Chopin evening showcasing some of the most remarkable laureates of the Chopin Competition (Warsaw). This box set is a triumphant celebration of Martha Argerich's incomparable artistry and of the remarkable circle of musicians she is collaborating with.
This highly anticipated box set brings together Valery Gergiev's acclaimed cycle of the complete Rachmaninov symphonies, which were recorded alongside the London Symphony Orchestra across 2008 to 2015. These masterful accounts of the Russian's complete symphonies are accompanied by his 1940 composition Symphonic Dances, while two symphonic poems by Mily Balakirev echo the luxurious textures present throughout Rachmaninov's music.
Rachmaninov’s ‘Piano Concerto No. 3’ is a complex, epic narrative that moves from a simple opening melody to the triumphant apotheosis at its conclusion. The composer ingeniously links motifs, melodies and at times whole sections between the movements, unifying the concerto into a single overarching storyline. In the ‘Variations on a Theme of Correlli,’ Rachmaninov reworks the original theme using his unique harmonic language until there is no trace left of its Baroque or Renaissance origins. Pianist Boris Giltburg was born in 1984 in Moscow and has lived in Tel Aviv since early childhood. He began lessons with his mother at the age of five and went on to study with Arie Vardi. In 2013 he took first prize at the Queen Elisabeth Competition, catapulting his career to a new level. His previous solo Rachmaninov recording was named Gramophone album of the month in June 2016, and more recently his first concerto album won a Diapason d’or for his account of the Shostakovich concertos.
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REVIEWS:
Boris Giltburg’s new Naxos recording of the D minor Concerto with Carlos Miguel Prieto and the Royal Scottish National Orchestra shatters the encrustation of reputational habit, offering instead a vividly imaginative re creation of a score that lives and breathes with irresistible vitality. Giltburg’s approach is fundamentally lyrical, rhetorically apt and, aided and abetted by Prieto and the Scots, sensitive to every marking in the score.
– Gramophone The opening bars of this Third Concerto performance set the scene for a very personal approach to the ones we have already on disc; the whole performance gives us a totally new approach where the choice of tempos is very personal, at times unusually relaxed, at other times are charging headlong. The first movement cadenza is almost improvisatory in every respect, and sets out his credentials as one of today’s most outgoing virtuosos. His finale is full of white-heat moments. The conductor, Carlos Miguel Prieto, is at one with his soloist, while the Royal Scottish National are on fine form. A very attractive account of the Variations on a Theme of Corelli closes the disc. The recorded quality of the concerto is excellent..
Rachmaninov: Aleko / Noseda, Murzaev, Akimov, BBC Philharmonic
Chandos
CD
$21.99Apr 27, 2010
My Recording of the Month, by a long way. The BBC Philharmonic sounds simply superb … Noseda conducts intelligently, sensitively, with full structural awareness of the dramatic trajectory.
Note that this is not part of the Chandos ‘Opera in English” series. This Aleko is sung in Russian. Rachmaninov’s early opera is remarkable, especially given its early date. The inspiration is free-flowing from the composer’s pen; the integrity of the Pushkin original is maintained.
The BBC Philharmonic sounds simply superb in the opening Prelude, delivering the themes of fate and jealousy with equal amounts of foreboding and lyricism. The recording helps – superbly focused, believably balanced and with just the right amount of space. The orchestra is superbly captured throughout, a vital facet of any recording of this piece given the dances that permeate the score. The Women’s Dance is superbly characterful - the BBC Philharmonic’s wind section excels. The Men’s Dance contains more contrasts, all relished by the forces here.
The opening chorus of gypsies makes plain reference to Borodin’s Polovtsian Dances. The chorus throughout - and it plays an integral part in the work’s unfolding - is magnificent. The Teatro Regio, Turin chorus makes a lovely, rounded sound and still sounds believably Russian.
The Russian text is given in Cyrillic only in the booklet, which might pose problems for some. At least there are translations in English, French and German and track points are frequent.
Luxury casting comes in the form of the experienced Gennadi Bezzubenkov as the Old Gypsy, full of Russian melancholy as he reminisces (track 3). The oboe’s supporting comments seem echt-Russian rather than Mancunian. The Old Gypsy Woman, who appears towards the end of the opera, is similarly convincing (Nadezhda Vasilieva).
The title role is taken by baritone Sergey Murzaev, strong and virile of voice. Aleko’s Cavatina (track 10) is powerfully delivered, a clear arioso narration until Aleko utters the magic name of “Zemfira”. The aftermath of his Cavatina (after the lines “Zemfira is unfaithful! Zemfira has grown cold!”) is a magical Intermezzo, during which the moon disappears and daybreak begins onstage. His vocal acting in the finale, when he awakes to find Zemfira and the Young Gypsy together, is excellent, right up to the moment he stabs the Young Gypsy.
As Zemfira, Svetla Vassileva is pure and yet passionate. Her big number is the Lullaby (track 9), preceded by the tender duet with the Young Gypsy - the ardent tenor Evgeny Akimov. Only his later off-stage aria, “Look how beneath the distant vault of Heaven …” disappoints, lacking the last iota of conviction. Again, the BBC Philharmonic performs a sterling service in setting up the atmosphere, here in the pointed phrasing. Vassileva sings beautifully, moulding her responses to the text perfectly.
Noseda conducts intelligently, sensitively, with full structural awareness of the dramatic trajectory. We clearly hear the Tchaikovskian influences in the orchestral writing, particularly in the yearning string phrases.
Rob Barnett rightly praised the Järvi DG recording on this site some eight years ago. I would love to hear the Svetlanov (only part of a six-disc set, alas). I remember a Proms performance of Aleko some years ago now which featured the magnificent Elena Prokina – perhaps it is too much to wish that she were part of the Chandos cast. Whatever, there is no doubt that this performance stands firmly on its own two feet.
Rachmaninov: The Isle Of The Dead, "Youth" Symphony, Symphony No 1 / Noseda, BBC PO
Chandos
CD
$21.99Jun 24, 2008
The first Rachmaninoff recording by Gianandrea Noseda and the BBC Philharmonic; 'Francesca da Rimini', received the accolade of 'Classical CD of the Week' from The Daily Telegraph and elicited the comment, 'Noseda sculpts the brooding passions of Rachmaninoff's dramatic score with trhilling intensity', from The Times. They return with three highly charged orchestral works. Noseda writees of his journey with Symphony No.1: 'Having conducted several times the Rachmaninoff second and third symphonies, I've been wondering continuously why the first of his symphonies has been neglected or considered not as good as its later sisters. In the last couple of years the level of my curiousity has increased so much that I've taken seriously the task of studying, learning and finally performing Rachmaninoff's first symphony. The result astonished me greatly: the symphony has such a beauty in the melodic line, the harmony is so refined, the structure is well controlled and yet everything seems naturally fluent.' Regarded as one of the most remarkable composers of the twentieth century, Serge Rachmaninoff wrote three romanticalldy inclined symphonies, two of which are now standard orchestral repertoire. However, the premiere of Symphony No.1 was such a disaster that Rachmaninoff refrained from composing anything more for the next three years. The conductor, Glazunov, is reputed to have been drunk, and Rachmaninoff was unable to attend the entire performance. He reacted by tearing up the score. Thankfully for posterity, the instrumental parts were preserved and rediscoverd in 1945, permitting the work to be restored. It is a work full of youthful fervour, distinctive and sweeping themes, and nationalist sentiments, and is now widely regarded as a vivid example of his early talent. It is complemented here by the 'Youth Symphony', the first movement of a projected but never completed symphony in D minor, composed when Rachmaninoff was only seventeen, and the great symphonic poem 'The Isle of the Dead', inspired by Arnold Böcklin's painting of the same name which Rachmaninoff had seen on display in Paris in 1907. Composed in 1909, it is still a relatively early work, but contains some of the dark Russian spiritual qualities which Rachmaninoff was to develop further in his later compositions. Gianandrea Noseda has a particular affinity for Russian music, which perhaps grew from his time with Gergiev at the Kirov. It is clear from his conducting that Rachmaninoff's music is deeply personal to him. Orchestra and conductor will perform this work at the BBC Proims in summer 2008 and at Manchester's Bridgewater Hall in November. Gianandrea Noseda will also conduct Rachmaninoff with the Israel Philharmonic Orchestra in June.
Rachmaninoff: Complete Solo Piano Works / Fiorentino
Rhine Classics
CD
$74.99Jul 17, 2020
Recorded live in September 1987, this release features Fiorentino’s legendary complete survey of Rachmaninov’s solo piano works. “…an utterly mindblowing release of the complete Rachmaninoff solo piano music by Italian master pianist Sergio Fiorentino, to whom the piano world owes a huge debt of gratitude for coaxing the master out of retirement and ensuring that his last decade of concerts was recorded. In this set, we find in absolutely stunning sound quality Fiorentino’s masterful traversals of Rachmaninoff’s solo works, the golden sheen of his sound and refinement of his nuancing as captivating as his passionate and intelligent interpretations.” (The Piano Files)
Rachmaninoff: Complete Symphonies / Slatkin, Detroit Symphony Orchestra
Naxos
CD
$35.99Mar 10, 2023
Sergey Rachmaninoff's symphonic career had a rocky start with the premiere of his First Symphony, now recognized as one of the Russian symphonic works of the late 19th century. Both the powerful First Symphony and the gloriously melodic Second, with its lush harmonic Adagio second movement, are haunted by the Dies irae chant melody. Rachmaninoff considered his Third Symphony to be one of his finest works, alongside the exquisitely and virtuosic Symphonic Dances. The enduring attraction of these symphonies is enhanced by the 'impressive, highly desirable interpretations' (Gramophone) in this acclaimed edition conducted by Leonard Slatkin.
Past praise for previously released volumes included in this set:
Rachmaninoff: Symphony No. 3, Symphonic Dances
The more garish aspects of the Symphonic Dances, with its Dies irae quotation morphing into a Russian Alleluia, and the percussion parts generally, are kept under control, while the symphony’s glorious melodies, the last stand of the Romantic era in 1936, are allowed to flower luxuriantly. A crack Russian or British orchestra might be smoother in places, but there is a confident musicality here that is immensely appealing, and it has everything to do with a group of young players who realize that they are under the gun and have what it takes to succeed, under seasoned leadership. Highly recommended.
-- AllMusic.com (James Manheim)
Rachmaninoff: The Isle of the Dead & Symphony No. 1
This recording of the First Symphony is arguably the finest since Ashkenazy’s with the Royal Concertgebouw Orchestra for Decca. Slatkin grinds out the opening bars with real menace, and he conceals the first movement’s episodic construction with flowing tempos and smartly managed transitions. The climax of the development section uses the glockenspiel part that seems to come and go in various recordings, but not the rest of the percussion that we find, say, with Litton on Virgin. Through it all the Detroit Symphony plays splendidly.
The crepuscular scherzo has an attractive lilt, while the Larghetto is just that: a small Largo, not one of Rachmaninov’s more hot and heavy statements in the mode of Symphony No. 2. Kudos to Slatkin for catching the movement’s gentle melancholy so well. As for the finale, it begins with plenty of the requisite panache, and culminates with a dark, powerful, and threatening coda that, if not quite as screamingly intense as Ashkenazy’s (the tempo is a bit quicker), comes as close as makes no difference. The trombones really put on a show here.
As for The Isle of the Dead, Slatkin’s performance doesn’t languish as some others do, and it’s all to the good. You really feel the five-in-a-bar rhythm in this performance, the lapping of the waves against the shore. The climaxes have tremendous impact, and the final appearance of the Dies irae sends a shiver down the spine. The work is all the more gripping for having such a strong rhythmic profile, and like the symphony it’s beautifully played (and recorded). Slatkin always has performed Rachmaninov as well as just about anyone alive today, and this cycle, quietly and with little fanfare as it has gradually appeared, sustains his reputation.
Rachmaninoff's output of chamber music is small but all the more precious for that. Two absolute gems bear witness to the fact: these ‘elegiac trios’, which were produced by a young composer still indisputably under the influence of Tchaikovsky. However, Rachmaninoff’s personality is already fully present, reaching heights of emotion and expressiveness.
The pieces by Suk and Grieg add a further touch of character to the picture, which is painted with an exceptionally rich palette: the artistry of the phenomenal Trio Wanderer.
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REVIEWS:
The Rachmaninov Trios share not only a sombre soundworld but a clarity of line that’s captured engagingly in these lyrical yet unsentimental performances by the Trio Wanderer. The Wanderers’ performance, a notch faster than many, has an urgency that is highly persuasive. Grieg’s dark and impassioned Andante con moto fits right in after all this, and the disc is rounded off with a sweetly understated Elegie by Suk. – BBC Music Magazine
The Trio Wanderer’s new disc, centred around Rachmaninov’s youthful trios, has all the finesse and subtlety that we’ve long associated with this French ensemble. From the start, though, one thing struck me – how curiously un-Russian these pieces sound in their hands. It’s partly due to their emphasis on clarity of texture, together with a certain Classical restraint.
