This recording highlights a selection of Rameau's well-loved ballet suites. Previously an established keyboard player and composer, 17th century composer Rameau's foray into the world of opera was well received by an adoring French public, and he became renowned for his ability to produce one brilliant melody line after another.

Plateé's Ouverture begins with a particularly sensitive touch and beautiful dynamic interpretation - the strings echo each other with a real tenderness as their imitations fade to a whisper. But Rameau's penchant for switching moods soon makes an appearance, and with a flurry of strings and harpsichord, the European Union Baroque Orchestra (EUBO) springs to life. The vivacity and humour of this comic opera are conjured up beautifully by the dynamic style of the players, and they bring a real energy to these suites.

The EUBO was formed to give young players the opportunity to fine-tune their Baroque playing style, and this youthful ensemble firmly plants its own stamp on the collection of suites. Their versatile style lends itself wonderfully to the series of short dances that feature in the Pigmalion suite, capturing the sober mood of the Gracieusement and the uplifting spirit of the Tambourin.

When Rameau originally penned Dardanus, it was described as 'a piece so laden with music that for three whole hours, the orchestral players do not even have time to sneeze'. You get this sense with the recording, but the tempo never suffers from being rushed or forced. The steady opening of the Ouverture is faithfully interpreted and during the moments when the players scurry through the Rigaudons and Tambourins, their well-phrased playing gives the dances room to breath. The EUBO are in no danger of playing catch-up with Rameau's racing melody lines - their vivid performance is an arresting tribute to Rameau's vibrant style.

Helenka Bednar, BBC Music

RAFF: Symphony No. 1, 'To the Fatherland'

Rafael Aguirre is acknowledged as one of today’s most celebrated virtuoso guitarists, having won first prize at 13 of the world’s most prestigious international competitions: a record-breaking achievement for a Spanish musician. Following on from his previous, acclaimed recording (8.572064), this full-blooded recital is of music by Spanish composers or those influenced by Iberia, from the pure flamenco of Paco de Lucía’s Guajiras to Debussy’s impressionistic Soirée dans Grenade, and from Albéniz’s Triana, named after the gypsy quarter in Seville, to the virtuoso fireworks of Tárrega’s Gran Jota.

Classical Music

In his atmospheric rendition of Rachmaninov's The Rock, conductor Alexander Anissimov delights in the Rimsky-Korsakov-style fantasy of the music while emphasizing its drama, making this one of the best recordings since Walter Weller's fluid and expressive reading on Decca (which, along with his Rachmaninov symphonies has yet to see laser light). Though it might not seem so at first, The Rock actually makes a nice lead-in to The Bells, with its somber sounds gently usurped by the joyful ringing of the celesta and flutes. Joyful also describes Anissimov's performance of The Bells' first movement. After tenor Ivan Choupenitch's record long-held note on "Slyshish", the chorus enters exuberantly though not with the voluminous massed sonority of the Russian Republican Capelle for Kondrashin.


The RTÉ Philharmonic Choir, an Irish-based ensemble, makes a pretty impressive show of itself throughout this performance, not least for its convincingly Slavic sound. Ireland's National Symphony also transcends geography, paradoxically sounding more Russian than Pletnev's Russian National band does on his recent Deutsche Grammophon recording. For this Anissimov certainly deserves the credit: listen to how his trumpets peal against the strings in the second movement's great ascending orchestral interlude, or how in the finale the winds and brass snarl like ghostly specters from the yet-to-be-composed Symphonic Dances. Helen Field's singing in the wedding song is at once soothing and seductive, while Oleg Melnikov intones the bells of death with the requisite gravity and sense of finality. Despite the enormous dynamic range inherent in this work, Naxos' recording captures it all vividly, managing to convey both size and detail. Budget or no, these are Bells you ought to hear.
--Victor Carr Jr., ClassicsToday.com

RACHMANINOV: Symphony No. 2

RACHMANINOFF The Isle of the Dead. Symphony No. 1 • Leonard Slatkin, cond; Detroit SO • NAXOS 8.573234 (66:20)

Leonard Slatkin and his marvelous Detroit Symphony complete their superb Rachmaninoff symphony cycle with a spectacular First Symphony. Slatkin’s interpretations of the Second and Third symphonies were straightforward, powerful, and no-nonsense, focusing on the structure of both works and downplaying their emotional excesses. Here he takes a similar approach with the First Symphony and it pays off in huge dividends.

The first movement’s introduction is grimly menacing and Slatkin makes the allegro proper’s somewhat patchwork structure seem more cohesive than it really is, with deftly chosen tempos, forward moving rhythms, and seamless transitions. The Scherzo has an infectious swagger and Slatkin paces the Larghetto appropriately—well, larghetto (i.,e., not too slow)—so as to keep the music moving along and avoid languishing on the movement’s excessive melancholy. The Finale can often sound like a hodgepodge of discarded sketches of Rimsky-Korsakov, but Slatkin does as well as anyone at molding the seemingly unrelated episodic sections into a convincing unified statement. The performance here is extremely compelling and boasts an especially powerful and ominous coda. The trombones really have a field day. All in all, this is a great performance of a work difficult to pull off, one that can stand alongside the standard-setting versions by André Previn (London Symphony Orchestra, EMI 64530) and Vladimir Ashkenazy (Royal Concertgebouw Orchestra, Decca/London 448116 and 455798).

Rachmaninoff composed his symphonic poem The Isle of the Dead after viewing Arnold Böcklin’s painting of the same title in 1907. Considering the composer’s obsession with his own death, it is easy to understand how he would have been moved to compose a work inspired by this painting. Here Slatkin once again refuses to allow the music to wallow in its own mannerisms, choosing to make the most of its rhythmic momentum. In the opening, one can really feel the quintuple meter, so vividly depicting the gentle yet portentous sound of the oars as Charon, the ferryman, rows his boat with its newly deceased passengers across the River Styx. Throughout the work, Slatkin highlights the contrast between passages of ominous foreboding and those of serene tranquility perhaps more effectively than anyone before him. The climaxes are truly shattering, with snarling brass and pounding bass drum. Each successive statement of the Dies Irae becomes increasingly eerie. The cumulative effect is absolutely bone-chilling.

The city of Detroit may have seen better days, but the same cannot be said of its magnificent orchestra. After suffering its own financial woes a few years ago, the DSO has come back with a vengeance, sounding stronger than ever. Credit must be given to what is obviously a very productive partnership with its music director. I hope we can look forward to more Rachmaninoff from this team: say, the piano concertos and Paganini Rhapsody. Highly recommended, especially at Naxos’s budget-friendly price.

FANFARE: Merlin Patterson

Sergei Rachmaninov's songs rival his piano works in terms of popularity, and are the culmination of a uniquely Russian lyrical tradition. Piano transcription became a fashionable art form in its own right after Liszt's work in the genre, and Rachmaninov's elaborate piano parts make his romances ideal for solo performance in works that express effortless sensuality as well as darkness and loss. Unearthed in 2002, Rachmaninov's own transcription of his remarkable Suite in D minor explores both tragic depths and light-hearted bravura.

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Igor Stravinsky memorably described Rachmaninov as ‘six-foot-six of Russian gloom’, and that description fits admirably, and at the same time magnificently, with this music. It arose out of Rachmaninov’s admiration for Tchaikovsky. For Tchaikovsky’s only Piano Trio, his Op. 50, had been dedicated ‘to the memory of a great artist’: Nikolai Rubinstein. Rachmaninov gave his Trio élégiaque of 1893 the same dedication; now the ‘great artist’ was Tchaikovsky himself. The young Rachmaninov was already making his mark on Russian musical life, as both prodigious pianist and talented composer. The dedication of the Trio is a reflection of the strong impression he had made on Tchaikovsky, the composer of the previous generation whom Rachmaninov most admired.


The Trio is arguably the finest achievement of Rachmaninov’s earlier career: the period before his breakdown following the disastrous premiere of the First Symphony. It was preceded by another piece of the same name and for the same instrumental combination; but in every way, in both scale and conception, the earlier work is a pale imitation of the later.


Naxos couple these two trios in a sensible combination that gives commercial value as well as artistic integrity. The performers seem ideal, and so too the recorded sound from that favourite venue for Naxos: Potton Hall in Suffolk. The Trio No. 1 is a work of sensitive emotion and admirable intellectual command, but the music lacks the vision and with it the truly epic commitment of the Op. 9 Trio of 1893. The latter is still an early work, and it is true that Rachmaninov returned to it fourteen years later to revise it in the light of a more sophisticated technique. Be that as it may, there is a complete integrity of design and an associated command of structure, and its every bar conveys an eloquent immediacy of emotion.


Of course the performers need bring their own vision to chamber music that is built on such an ambitious scale. This Russian trio of Grohovski, Wulfson and Yablonski combine to achieve eloquence of line and intensity of expression, a performance that is founded upon techniques of the utmost assurance. Their interpretation is captured in an acoustic whose warmth serves the music well. Make no mistake; this is one of the most successful recordings of chamber music one could wish to encounter, and to have it available at budget price is a cause for celebration.

Terry Barfoot, Music Web International

RACHMANINOV: Piano Transcriptions and Arrangements

Rachmaninov’s Chopin Variations is a relative rarity on disc and a work that has never caught on in the concert hall. Here is a performance that makes you wonder why. More clearly than in Berezovsky’s (incomplete) recording (Teldec), more compellingly than even Howard Shelley (Hyperion), Scherbakov illustrates how the Variations, touchingly dedicated to Leschetizky, come from the same golden vein of inspiration that followed the Second Piano Concerto, even reusing some of its figurations and modulations (listen to Vars 3 and 8). Contrast the limpid lyricism of the brief Var. 17, one of the composer’s greatest melodies, with the bravura finale (Scherbakov chooses the alternative presto coda to end the cycle): this is great Rachmaninov playing with an eye for detail and lucid phrasing as much as for atmosphere and colour.

The five Op. 3 pieces are notable for the beautiful tonal quality of the playing (this and the recording throughout are first class). I’ve heard more cohesive takes on the Prelude, the second of the set (Hofmann, for example, and the composer himself), and the opening ‘Élégie’ has a slightly indulgent tempo, but Scherbakov’s individuality and character carry the day.

In the Sonata he manages to combine drama, breathtaking articulation and clarity of texture (usually one disappears at the expense of the other in this work). While it does not claim the pent-up, nerve-jangling thrill of Horowitz’s famous account, and despite a slight loss of tension in the final pages, Scherbakov’s must rank as a front runner among modern recordings.

-- Jeremy Nicholas, BBC Music

Rachmaninov: Piano Concertos Nos. 2 & 3

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..

– David's Review Corner (David Denton)

Peter Donohoe and Martin Roscoe take to Rachmaninov like ducks to water. They luxuriate in his opulent keyboard idiom and even evoke the composer's own titanic playing by way of thrust-inducing accents and booming bass notes that ring in your ear long after they're struck. Check out the ravishingly shaded first-movement trills and the finale's full-throated evocations of bells, and discover for yourself. The players admirably mirror Ax and Bronfman's sensible, dance-oriented tempos, even if they don't match the latter duo's finely honed textural clarity in the Symphonic Dances' middle movement or the Second Suite's Romance. By virtue of Donohoe and Roscoe's immense dynamic range and superbly sprung rhythms, the Second Suite's Waltz and Tarantella make an impact no less exhilarating and arguably more musically satisfying than the edge-of-seat bravura and breathless speeds Argerich and Rabinowitz favor. Naxos' sonics turn a little clangorous at the loudest moments, plus you occasionally hear intakes of breath and fingernails on the keys. Nevertheless, for a single-disc, bargain edition of Rachmaninov's major two-piano canon, you can't go wrong with this fine release.

--Jed Distler, ClassicsToday.com

Boris Giltburg, the Russian-born Israeli pianist who won the 2013 Queen Elisabeth Competition, is that genuine rarity: a pianist whose Rachmaninov is entirely idiomatic yet intensely personal in a way that yields fresh perspectives on this well traversed repertory.

His sense of rhythm is impeccable, with a chaste application of rubato that is organically derived from the life of the phrase. He is a master of the great surges and retractions of energy so specific to the composer. Giltburg’s pellucid sound is never forced; his large dynamic range has a soft spectrum, between mezzo-piano and ppp, which is infinitely calibrated and shaded. His eloquence derives from a poise and restraint that, while uniquely his own, is not unlike the aristocratic delivery that was the hallmark of Rachmaninov’s playing.

Without ostentation or fuss, he has examined these scores in every kind of light, lived with them and come up with a vision that, without being wilfully contrarian, is nevertheless something beyond received wisdom. I suspect that before long this vision will place him among the truly memorable Rachmaninov interpreters, an elect including Moiseiwitsch, Horowitz, Kappel, Richter and Cliburn. His originality stems from a convergence of heart and mind, served by immaculate technique and motivated by a deep and abiding love for one of the 20th century’s greatest composer-pianists.

– Gramophone