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| |  | Stress Management | Home » » » » » Rachmaninoff Plays Rachmaninoff: The 4 Piano Concertos | | | | | | | Product Promotions: | | | | | Description: | | Unlike most composer/pianists, Rachmaninoff's instrumental prowess was fully commensurate with his creative gifts. He embraces his youthful First Concertos as if he had encountered an old lover, consumating his passion with stupefying fingerwork in the first movement cadenza. Conversely, the composer seems bored in the Third. He laconically dispatches its torrents of notes, opts for the easier ossias in difficult passages, and makes cuts in the first and third movements. And pianists like Arturo Michelangeli and Earl Wild have recorded more incisive, demonic Rach Fourths. No question about the Paganini Rhapsody and Second Concerto, where Rachmaninoff's fierce authority and luscious, molten tone permeate every bar. RCA's transfers, however, could have been better. --Jed Distler | | | Product Details: | | | Audio CD Release Date:
| August 16, 1994 | | Studio:
| RCA | | Composer:
| Sergey Rachmaninov | | Conductor:
| Eugene Ormandy, Leopold Stokowski | | Orchestra:
| Philadelphia Orchestra | | Number Of Discs:
| 2 | | Average Customer Rating:
|  based on 43 reviews |
| | | Track Listing: | | | Disc: 1 | | | 1. | Piano Concerto No. 1 in F sharp minor, Op. 1: No. 1, Vivace - Moderato | | 2. | Piano Concerto No. 1 in F sharp minor, Op. 1: No. 2, Andante | | 3. | Piano Concerto No. 1 in F sharp minor, Op. 1: No. 3, Allegro vivace | | 4. | Piano Concerto No. 4 in G minor, Op. 40: No. 1, Allegro vivace (Alla breve) | | 5. | Piano Concerto No. 4 in G minor, Op. 40: No. 2, Largo - attacca subito | | 6. | Piano Concerto No. 4 in G minor, Op. 40: No. 3, Allegro vivace | | 7. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Introduction: Allegro viv | | 8. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation I (Precedente) | | 9. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Tema: L'istesso tempo | | 10. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation II: L'istesso t | | 11. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation III: L'istesso | | 12. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation IV: Piu vivo | | 13. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation V: Tempo preced | | 14. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation VI: L'istesso t | | 15. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation VII: Meno mosso | | 16. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation VIII: Tempo I | | 17. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation IX: L'istesso t | | 18. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation X: Poco marcato | | 19. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XI: Moderato | | 20. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XII: Tempo di m | | 21. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XIII: Allegro | | 22. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XIV: L'istesso | | 23. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XV: Piu vivo sc | | 24. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XVI: Allegretto | | 25. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XVII: Allegrett | | 26. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XVIII: Andante | | 27. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XIX: L'istesso | | 28. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XX: Un poco piu | | 29. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XXI: Un poco pi | | 30. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XXII: Un poco p | | 31. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XXIII: L'istess | | 32. | Rhapsody on a Theme of Paganini (Introduction and 24 Variations), for piano & orchestra in A minor, Op. 43: Variation XXIV: A tempo u | | | Disc: 2 | | | 1. | Piano Concerto No. 2 in C minor, Op. 18: No. 1, Moderato | | 2. | Piano Concerto No. 2 in C minor, Op. 18: No. 2, Adagio sostenuto | | 3. | Piano Concerto No. 2 in C minor, Op. 18: No. 3, Allegro scherzando | | 4. | Piano Concerto No. 3 in D minor, Op. 30: No. 1, Allegro ma non tanto | | 5. | Piano Concerto No. 3 in D minor, Op. 30: No. 2, Intermezzo: Adagio - attaca subito | | 6. | Piano Concerto No. 3 in D minor, Op. 30: No. 3, Finale: Alla breve | |
| | | Customer Reviews: | |
Average Customer Review:
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 Yes, the sound is tinny and distant, and yes, the music here makes that a minor concernMar 23, 2010
I agree with reviewers here that these recordings could sound a lot better...but that's a quibble when compared to the many joys of hearing some of the finest piano music ever written played by its composer.
Versions of his piano concertos by Lugansky, Ashkenazy and especially Horowitz are considered by many to be the peaks, but I find that the more I listen to Rach's own takes on these that his less showy, more precisely rendered versions are beginning to be the ones I reach for, poor sound notwithstanding. And as a (long-suffering?) fan of audiophile sound since the 70s, that's a rare event for me.
Imagine hearing Bach played by Bach, or Wiggy B.'s concertos from his own hands, or the 12-year-old Mozart deftly working his harpsichord as he wrote another masterpiece. Would you complain that the sound isn't quite perfect enough? If yes, then you're insane, and your ears might not be connected to your heart tightly enough. It's a rare privilege to hear Rach's own masterpieces works played by Rachmaninoff himself, especially as his playing is so tremendously solid, and often very different from most of his interpreters. He himself said he loved Horowitz's takes on his compositions, yet these versions are far removed from Vladimir's, and wonderfully enough none the less for it.
The Paganini does show some pretty virtuoso moments, and I really love the way Rachmaninoff comes in on his 4th here, a dazzling rush that melds beautifully with Ormandy's strict command of the Philly Orchestra, who are excellent in general here. The fact that Rach can wail away and chooses not to much of the time only makes these versions more fascinating for the choices on display. I find myself enjoying the 4th the most of all these versions, mainly due to Rach's almost playful reading. Too bad there aren't more recordings of Rach in action, as one imagines every version of every concerto would have its own special feeling, but then again it makes one grateful to have what we do.
Simply put: if you love these compositions, this composer, or just piano music in general, you owe it to yourself to hear these recordings and judge for yourself. Once you permit your ears to get past the sound and into the music, I think you'll find yourself having a musical experience of the highest order.
Rachmaninoff is a geniousSep 17, 2009
We have a number of his CDs. This is an amazing one. When Rachmaninoff plays his own creation the tempo is just right. Highly recommended.
1 of 1 found the following review helpful:
Dreaming RachmaninovJul 13, 2009
Ordering coffee at 6:00 AM in an empty Java Jones, I heard some amazing piano and instantly fell in love with this music. I asked the coffee girl what song this was and she told me it was some dude named Rachmaninoff and spelled it onto a napkin (mispelled it, making it impossible to find later), and since then this album has been one of my favorites.
I went on a Rachmaninoff binge for a month and have since been hearing "Prelude in G Minor, Op. 23, No. 5" in my dreams, when I nod half-asleep in lecture, or when my mind has nothing else to do when running.
Amazing music. Love it. Wish I'd heard about him sooner!
2 of 9 found the following review helpful:
 Rach plays RachMay 31, 2009
Rachmaninoff playing his own stuff sounded appealing,too bad it didn't sound very good. All though technically proficient, his playing doesn't reflect much emotion. Also, as much as modern technology can improve old recordings, the fact remains that he died in 1943 and these recordings all preceded that date by many years. Buy something newer.
1 of 2 found the following review helpful:
outstanding - in spite of the soundJun 30, 2008
This set, to use a term from the Penguin guide, is pretty much self-recommending. I would just add, the sheer strength of sonority from the piano comes over very well in spite of the age of the recording. One recalls critics saying that a great voice can overcome recording limitations - and this voice can be human or instrumental. Although the orchestral sound is somewhat constricted, it is better than many of the recordings of the NBC Orchestra under Toscanini (of the same era), and the composer receives excellent support from both conductors. The famous 18th variation of the Paganini Rhapsody gets a passionate response from the strings.
It is a very exciting album and well worth hearing.
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