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| |  | Religion & Spirituality | Home » » » Rachmaninoff Plays Rachmaninoff: The 4 Piano Concertos | | | | | | | Product Promotions: | | | | | Product Details: | | | Audio CD Release Date:
| August 16, 1994 | | Studio:
| RCA | | Composer:
| Sergei Rachmaninoff | | Conductor:
| Eugene Ormandy, Leopold Stokowski | | Orchestra:
| Philadelphia Orchestra | | Number Of Discs:
| 2 | | Average Customer Rating:
|  based on 45 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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102 of 102 found the following review helpful:
 A moment of truthMar 05, 2006
By e. verrillo
This afternoon I put on this recording of Rachmaninov, thinking I could use a little background music as I cleaned the living room. It stopped me dead in my tracks. For the next half hour (it was the third concerto) I sat on the coffee table, clutching my dust rag and muttering an occasional "my god!"
I am tempted to heap adjectives on this performance: focused, driving, powerful, intense, masterful. But there is only one which does it justice: Russian. Those long, long sweeping phrases, that amazing build-up of tension, like a kazatske that goes faster, and faster, until you drop of exhaustion. Only Rachmaninov isn't going faster; he simply isn't letting up. He doesn't let you lean back and rest, even in his tender moments. When you hear him play, you lean forward, you hold your breath, you close your eyes, and you try to hang on.
When it comes to performances, everyone has his or her own preference. Some like the drama of Horowitz, the lyricism of Andsnes, the intensity of Argerich. But after listening to Rachmaninov himself, Andsnes sounds like he's on valium, Argerich is playing a rather choppy tango, and poor, dear, David Helfgott is playing chopsticks. Even Horowitz sounds a little heavy, as if he were playing the theme to "As the World Turns."
As a musician I know what it is to strive for perfection, to work for hours on nuancing a phrase. You play your fingers off, and your heart out, and then, suddenly (and all too infrequently) everything drops away and you are no longer playing. You are the music. What Rachmaninov has, and what leaves everyone else producing slightly fuzzy copies of the original, is that transcendental quality of truth. And that is what I heard today-not a man playing a concerto, but a concerto playing a man.
52 of 52 found the following review helpful:
Fascinating accounts--Romantic composer not Romantic pianistAug 16, 2001
By John Grabowski
Rachmaninoff has had a reputation for being a Big Romantic. Perhaps his music comes off that way in others' hands, but as these recordings (and others as well) clearly show, the ol' lug was not an overly Romantic interpretor of his own works.These readings may take some getting used to for those weaned on newer interpretations. Pianists today sometimes play Rachmaninoff as though he were Tchaikovsky (making me wonder if, by extension, they're even getting Tchaikovsky right). But as Gyorgy Sandor once observed, "Rachmaninoff left us recordings of all his concertos--fortunately. Most pianists today do not bother to listen to them--unfortunately." When we hear Sergei play his own works (and not just the concertos) we hear a very fleet, powerful and straightforward intellect, lightening fast, concise, with no wasted expressive motion. This may put off some, but I don't find it makes him sound "bored" or detatched. Admittedly this is not the only way I'd want to hear these works, and sometimes I get the urge for a thick rich slice of Lazar Berman. But there's nothing insubstantial or perverse about Rachmaninoff's own approach, and it can be downright direct and refreshing. In the opening of the 2nd Concerto, the rapid staccato passages of the first movement of the 3rd, or the same concerto's brooding slow movement, we hear a ringing tone, and colorations despite the age and poor coinditions of the recording. (And the transfers are not so much "bad" as they are in bad shape. The sound on these RCA pressings was poor to begin with, and they obviously haven't improved over time. Even way back then, quality control at the big American record labels was not great.) Of course the cuts in the 3rd concerto are hard to stomach today. However, maybe Rachmaninoff knew what he was doing. He authorized and approved of them, and longer recordings were released at the time, so the extra length could have been accomodated. It's a pity there are cuts, but that shouldn't stop anyone from investigating these discs. If you can find it, Rachmaninoff's own (again rather sober and concise) recording of his Third Symphony is a must-own. Also his performance of The Isle of the Dead. All of these recordings feature the Philadelphia Orchestra, which he stated to be his favorite ensemble. Even in the fuzzy gray early 40s sonics, the luminous quality of the PO strings shine through. These recordings are a window back in time when common-place masterpieces sounded different than they do today. Everyone seriously interested in Rachmaninoff and Romantic music should check these recordings out.
33 of 33 found the following review helpful:
Pianists, don't ignore a valuable source of information!Jul 13, 2000
It is impossible to go back in time and listen Beethoven playing his own brilliant piano works. So too one could never know exactly how Chopin played his own music. The recordings Rachmaninoff made of his own works afford us a priceless opportunity to know exactly how the composer intended his own works to be played. Anyone with more than a passing intrest in Rachmaninoff's piano concerti and Paganini Rhapsody should buy this album. Furthermore it is a grave mistake for any pianist learning any of these works to do so without having heard Rachmaninoff's own recordings of them. Don't let the hissing dissuade you from listening to this fantastic recording. It is well worth the price.
25 of 26 found the following review helpful:
Possibly, the Greatest Pianist of all timeJul 08, 2003
By Heichef
I am pleased to see that most of the reviewers share my opinion about Rachmaninoff's recordings of these works. I'm in shock to witness that there are people who judge these recordings by the sound quality or claim that Rachmaninoff's recording of the Third Concerto is inferior in a certain way. Rachmaninoff is for me, beyond any doubts, the greatest pianist of the 20th Century and possibly, of all time. All of his recordings are blessed with his eloquence, his marvellous tone, his phrasing, technique and musical intelligence. His Third Concerto is simply magnificent. All his tempos sound perfect, his phrasing is pure poetry. When I listen to this recording I am constantly thinking "Of course, playing this way makes much more sense". How can anyone compare Rachmaninoff's recording of his Third Concerto with the showy Vladimir Horowitz's interpretations? Or worse, with Argerich's recording. The same applies to the idiosyncratic Richter recordings of the Second Concerto.
His recording of the Second Concerto is beyond words. It is the most pure and aristocratic way of playing that great masterpiece. The Second movement of this concerto has feeling but is never sentimentalized and sluggish like most of nowadays recordings. Again, the phrasing is breathtaking and the contrasts he creates are simply astonishing. One thing I agree, Michelangeli's recording of the Fourth Concerto is incredible, but not superior to Rachmaninoff's own, just a different and fantastic way of "singing" the concerto! To the First Concerto applies what I said about the other concertos. The playing of the cadenza is simply beyond belief, and I think that the only recordings that come close to this are the Byron Janis' ones. Rachmaninoff's power, tone and eloquence are scorching. When I hear Rachmaninoff playing this concerto I feel that it just cannot be said in a better way. The Rhapsody is pure charisma, and intelligent way of playing. He is never showy. His aim is to make music, not to astonish people with his technique or make the audience wallow in cheap sentiment. One thing I recommend, I have this set and the Naxos one. Naxos' transfers are far superior. The pitch is corrected, the sound has much more bass, clarity and power. Don't hesitate to buy them.
24 of 25 found the following review helpful:
Worth Every Penny and More!!!Oct 05, 2003
These CDs are a treasure. Every aspiring/professional pianist or music lover should definitely have them in their collection. These are invaluable cds, not only because of the beautiful music, but because the interpreter is the composer himself. I don't understand the complaining of listeners who say the sound quality is too poor. Of course it is if you're going to compare it to a current recording. We are talking 1929-1941 here people, pre-stereo times! However, the quality is not so poor that you can't enjoy these recordings. In fact, for a 1940s recording, they are actually quite good, and especially if you play them on a decent stereo or even walkman. I was also very surprised to read complaints about the 3rd concerto's tempo as being too fast??? Keep in mind, this is the actual COMPOSER who is playing these pieces! A reviewer said "...this interpretation doesn't do the music justice..." What the hell are you talking about??? That is like telling Bach that his interpretation of the Goldberg variations doesn't do the music justice...Absolutely ludicrous! These recordings are TIMELESS CLASSICS, and they are a measuring rod as to how others interpret or misinterpret the concertos! A MUST BUY AND A QUALITY ADDITION TO ANY MUSIC LIBRARY.
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