Customer Reviews

Prokofiev: Piano Concerto No 3 ; Rachmaninov : Piano Concerto No 3 / Mikhail Pletnev

5 star:		(4)
4 star:		(2)
3 star:		(1)
2 star:		(1)
1 star:		(2)

 

 

Deutsche Gramophone has paired two of today's top performers for aruguably the most difficult piano concertos commonly performed. Both Pletnev - the pianist, and Rostropovich - the cellist, alternate constantly as conductors so it is only fitting that they bring a distinct symphonic approach to these works. The results are mixed yet always exhilarating
Rachmaninov wrote his 3rd piano concerto as a virtuoso piece with which he hoped to conquer mostly American audiences - off course, as with any work of his this is not a mere showpiece for the pianist but is also brilliantly orchestrated and beautifuly annotated. But, there is no doubt that the music works around the piano soloist. So - Pletnev and Rostropovich give more than usual consideration to the orchestra and at parts the piano merely becomes another instrument rather than the soloist - added to Pletnev's light tone, this is a performance where honors and demeanors are shared by soloist, conductor, and orchestra. Many passages come off beautifuly while in others you just cant help yourself from wishing a more extrovert piano performance. Played in this manner, the rachmaninov 3rd piano concerto is transformed into a symphony with a piano part. At times this is fascinating, and then also frustrating. This is not an average performance.
This approach works much better in the Prokofiev. Here for once, both the orchestra and the piano part seem to lose their traditional motoric and percussive nature and instead we are presented with an emotionaly charged yet subtle performance where the understanding between the performers is always apparent. Also - result of this approach is that for once, Prokofiev's 3rd piano concerto is portrayed as full of drama, anguish, and finaly - triumph. The symphonic approach here allows for this concerto for once to not become episodic - rather, all the parts and variations seem to be integrated and eveolve logicaly. Pletnev's tone and technique is in top form throughout the whole disc, but in the prokofiev it becomes simply amazing. It is not a matter of just speed and power, rather than submission to a musical idea that seems to work perfectly.
Overall, this is a disc no serious collector should do without - its a doccument of 2 very serious musicians at the top of their form presenting music in a manner which is both fresh and respectfull of the music. This approach may not always please those who have preconceived notions of how these works should be played, but there is no denying that it is presented in an honest, professional, and inspired manner.

This really is a superb disc. I haven't listened to the Rachmaninoff Third with pleasure for quite some time now, most performances striking me as just banging out the notes. Rostropovich and Pletnev offer a brand-new take on this magnificent piece, one that explores orchestral textures and the interplay of piano and orchestra in really subtle ways. I can understand how some people might be put off by this (relatively) low-pressure approach, but to my ears the piece positively comes alive with sounds I'd never suspected. Rachmaninoff debuted this concerto in New York in late 1909, first with the New York Symphony under Walter Damrosch, then a few weeks later with the New York Philharmonic under Gustav Mahler. Decades later, Rachmaninoff still vividly remembered that second performance, detailing to his biographer about how carefully and completely Mahler rehearsed the music, insisting that the orchestra not be treated as mere accompaniment but as a full partner. That's how Rostropovich's work on the podium strikes me here and that's high praise indeed!

Pletnev is simply incomparable, every phrase is freshly imagined and shot-through with surprising insights .... not to speak of the man's staggering virtuosity. But Pletnev's virtuosity that never provides just empty display. Wow! And the same kind of imaginative, out-of-the-box thinking gets applied to the Prokofieff concerto as well. Rostropovich and Pletnev zoom in on all of the hard-edged, fantastic elements of the score, but subtly and not in any way I've ever experienced before. If the piece thereby loses some of its usual muscle, it gains an incredible variety of color. But, don't misunderstand me, this isn't anachronistic Prokofieff playing: there's no attempt to "tastefully" sanitize or romanticize the music, or turn this into second-hand Rachmaninoff. It's just that Rostropovich and Pletnev have such a light touch that they completely avoid the opposite sin of Prokofieff (mis)interpretation: turning the concerto into steely-fingered "machine music." The orchestral performance is just about perfect. The Russian National Orchestra project a fabulous technicolor sound that still manages to completely avoid sounding cheap or garish. Finally, the recording quality is about as good as you can imagine on a conventional CD. As I said, a really superb disc in every way and one that triumphantly vindicates both concertos as first-rate music, not just flashy display pieces.

A few of the reviewers' comments on this CD disappoint me. What we have here is Mikhail Pletnev providing absolutely fresh insights into both the concertos. Add this to the list of Argerich, Rodriguez, Horowitz. A must, must buy!!

Without question, this CD has to be regarded as among the best recordings of either the Rachmaninov 3rd or Prokofiev 3rd piano concertos ever recorded. Pletnev offers a freshly realized interpretation of Rachmaninov's solo piano score, which is more akin to 20th Century music than to late 19th Century Romanticism, which is the usual approach taken by other pianists (One notable example of course is Martha Argerich's fiery Romantic playing.). Indeed Pletnev shows more subtlety in his playing of this work - which is replete with lyricism and technical flair - than I have heard from anyone else. In stark contrast, he plays the Prokofiev 3rd Piano Concerto as a richly textured example of late 19th Century Romanticism; it is an approach that works well.

The orchestra Pletnev founded, the Russian National Orchestra, must be regarded as among the world's top twenty orchestras. In both works it offers ample support, playing vigorously under the baton of Mstislav Rostropovich, the distinguished conductor and cellist. The orchestra performs both works more in a Romantic vein than does Pletnev for the piano, replete with well modulated, lyrical playing from the horns, winds and strings, on a par with what I've come to expect from the Vienna Philharmonic and Dresden Staatskapelle lately. This CD features impressive performances of both concertos from the soloist and orchestra; I have no doubt that it should be regarded as among the finest recordings of these works currently available.

I used to be a Pletnev fan after listening to a few of his great CDs from Virgin. However, for some reason, since he joined Deutsche Grammophon, I realized I don't like his playing as much as before. Pletnev still has excellent technique. I own about 20 or so of his CDs and 3 DVDs. I have heard quite a lot of Pletnev. In general, the earlier the recording date, the better the performance. The later recordings lack force and forward momentum and unfortunately replacing that with weird phrasing, inappropriate dynamic changes, and focusing on creating certain effects. I read a lot of good reviews of this recording, but I am disappointed after listening to it once. I probably won't listen to it again. The Prokofiev concerto is better than the Rachmaninoff. I'd give Prokofiev 3 stars and Rachmaninoff 2 stars. I strongly recommended the Rachmaninoff #3 recording from Denis Matsuev with Budapest orchestra. If you haven't listened to that recording, give it a try.

Eccentric or genius, Mikhail Pletnev is a keyboard original in an era that sorely lacks them. As every other reviewer mentions, Martha Argerich has already recorded both the Prokofiev and Rachmaninov Third in her unmistakable way -- with electric, impetuous attack taht burns the varnish off two warhorses. Pletnev isn't in the same vein, since he prefers to pull us into his quirky phrasing bar by bar. Being fully equipped with enough technique to whisper and thunder at will in the most difficult passagework, his approach is gripping, but I msut say that Pletnev's not as successful as Argerich in masking the weaknesses of the music when Rachmaninov and Prokofiev lose inspiration and fall back on note-spinning. Argerich's headlong race has a lot to be said for it.

I don't know why certain reviewers claim that Pletnev turns the Prokofiev into a romantic work and the Rachmaninov into a modernist one. True, his touch in the Rachmaninov is lighter and less bangy than the usual frontal assault -- Volodos is equally elegant. Pletnev softens the witty quirkiness of the Prokofiev, but that's not romantic to my ears, just less sharp-edged. Rostropovich misses a lot of opportunities in his easy-going approach to the accompaniment. A truly great reading of either work needs inspired conducting, and we don't get that here.

DG realizes that their soloist is the whole show; they shove the piano in our faces, leaving orchestral detail as almost an afterthought. That's a shame, particulalry in the Prokofiev, with its spiky woodwind writing, but Rostropovich isn't doing anything special on the podium, not when you consider the pairing of Szell andd Graffman, who set off icy fireworks in their dazzling Prokofiev Third.

In all, I was gripped by Pletnev's originality, but the overall impact of this CD wasn't strong enough to get me on my feet cheering.

We have here two very fine performances indeed.

The Prokofiev is wonderful - characterful and interpretative, and although pletnev is not overly concerned with the percussive expression of the music, there are many interesting moments, and the performance is vibrant throughout.

In the Rachmaninoff there is always that little dissapointment when the shorter cadenza is used (despite its favour with RAchmaninoff, Horowitz and Malcuzynski). Here we have no dissapointment at all as Pletnev performs the bigger of the two cadenzas - and a very fine and convincing job he makes of it too.

This is a most impressive reading throughout - and the 3rd movement is especially convincing - there are no moments of weakness - rather this is a mighty performance; whilst remaining an interpretative one.

There are of course equally good performances of these works, but here is a serious artist, choosing to say something about two of the greatest concerti in the repertory. I should love to hear him in the Prokofiev 2nd concerto - that would be a real treat!!

After being wowed by the Argerich performance of Prokofiev and Rachmaninov, I was looking for an "authentic" performance of these Russian masterpieces. Pletnev's interpretation left alot to be desired. His performance lacked the virtuosic flair that I was expecting, especially from a Russian. Instead of being left breathless, I felt rather cheated, considering I spent over $30 AUD on this CD. It was interesting however to see the different ways these artists approach their work and I learnt that a Russian playing Russian music isn't always the best (one good example is Gieserking who plays Debussy magnificently).

...in all fair WARNING to those of you out there who might be tempted by the accompanying reviews here to purchase this recording of Prokofiev & Rachmaninov 3rd Piano Concerti, I read some of these reviews and was astounded at the praise. BEFORE ANYBODY BUYS THIS, please purchase Byron Janis' superb recording of the Prokofiev 3rd with Kiril Kondrashin conducting the Moscow Philharmonic Orchestra. It is one of the greatest recordings of ANYTHING, EVER made. There are, also, many wonderful recordings available of the Rachmaninov 3rd. MANY... Buy one of those first.

AWFUL!!! Stay away from this Turkey! I bought the SACD pressing and listened to both the 44.1 regular cd layer plus the surround AND stereo layers in SACD. Sonics are murky and balances, especially beween soloist and orchestra, provide too little piano (which may be a blessing).

To begin, the Rachmaninoff is cut in the last movement, even though Pletnev uses the LONG cadenza in the first movement -- this after blathering at length in the notes about his "special relationship" with this music -- he might have shown some consistency if he had used the short cadenza in movement one. There is no reason, in the 21st century, for a major virtuoso to use the cuts that were forced on Rachmaninoff by RCA in the days of 78rpm discs at the beginning of the 20th century! Those same idiots at RCA were responsible for his NOT recording all his symphonic works as conductor back then. Even though some sloppy music critics refer to these cuts in the Rach3 as "standard," they completely disfigure and unbalance the great symmetry of this movement AND the whole cyclical nature of the concerto. Lest we forget, it was the master idiots at RCA who sold David Helfgott's spastic, sloppy and unmusical version of Rach3, through the furor of the SHINE film, as a legitimate performance -- that one is more akin to a train wreck.

Furthermore, Maestro Pletnev, a major international virtuoso, plays as if he truly doesn't listen to the sounds (or noises) he makes on his instrument. Many are the young piano students who are "boxed upside the head" when they abuse the damper pedal excessively. In this recording, it appears the pianist missed that lesson completely: the pedal gets put to the metal mercilessly as he literally pounds the keys, banging on the piano! It has been years since I have heard such tasteless playing. I wonder if the recording producer at the sessions had any authority or was hired to be a toady...

The result is one of the worst recordings of the Rach3 in many years. SACD adds nothing when a recording is such a musical disaster. The master tapes (or hard drives) of this performance should be erased, then buried next to David Helfgott's performance, and the perpetrators stripped and sprayed. The discs should be made into chains for hanging room dividers or scoops for kitty litter.

What a waste!!! No wonder classical recordings aren't selling! This turkey deserves to be ignored. I deeply regret I spent good cash on this musical miscarriage...