Customer Reviews

Rachmaninoff Plays Rachmaninoff: The 4 Piano Concertos

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4 star:		(3)
3 star:		(6)
2 star:		(1)
1 star:		(2)

 

 

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.

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.

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.

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.

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.

I would just like to set straight a few myths that have been perpetuated.

Rachmaninoff made cuts to the original score of his third concerto and played the shorter cadenza in this recording because of the restrictions on recording to a 78-rpm disc. It was due to technology that Rachmaninoff made these cuts.

As for the cadenza, many people are of the impression that the shorter cadenza is less difficult than the original. However, due to the difference in speeds at which they are played they are probably as difficult as eachother.

Listen to the way Rachmaninoff plays the passage marked scherzando (in the cadenza) and how it breaks up into chords yet flows like hot oil. He plays the section before it so incredibly fast yet maintains perfect clarity with no use of the pedal.

As for the hissing, the recording is old. However I do agree with someonelse's statement that Rachmaninoff's playing is so compelling that the hissing becomes softer and softer.

Sergei Rachmaninoff is considered to be one of the greatest composer/pianists of the early 20th century. His four piano concertos are recognized by many as some of the best ever written. On this double-CD set, we get to hear Rachmaninoff himself perform these concertos along with his famous "Rhapsody on a Theme of Paganini".
Although the recordings were made between 1929 and 1941, the sound quality is not bad at all. The small technical imperfections are made up for by the sheer power of the music. Rachmaninoff's piano technique is flawlessly executed throughout these recordings displaying a wealth of emotion and intensity. The music as a whole is timeless.
While this may not be an essential place to start for the first-time Rachmaninoff listener, "Rachmaninoff Plays Rachmaninoff" is definitely worth picking up later down the line. For the die-hard Rach-heads, this is indespensible and is a must. Hearing Rachmaninoff perform his own work brings a vast amount of authenticity to this music and offers exactly what the composer was after firsthand.
Definitive Historic Rachmaninoff!!

Footnote; If you enjoy this set, "Rachmaninoff Conducts Rachmaninoff" is also essential as it features the composer conducting his own "Isle Of The Dead", "Vocalise" and Third Symphony.

First of all, it is Rachmaninoff's Piano Concerto No. 2, or Rachmaninoff's Piano Concerto No. 3 - not Rach 2 nor Rach 3. Who is Rach? There were two of them? Second, the people complaining of the "bad acoustics" of this CD are brilliantly stupid, because they are letting such a small, tiny, pathetically miniscule defect get in the way of the fact that this CD is the recording of one of the greatest composers and pianists of all time. What is there to complain about? It is Rachmaninoff HIMSELF playing. That is all that needs to be said.

Now, for the contents.

The tone of Rachmaninoff's piano playing must rank as one of the very best in the history of pianism. Not only is it very penetrating, but it sounds very personal, deep, warm and lovely, as if Rachmaninoff is carrying all the beauty of Russia into his fingers when he plays. The melody is always sung out beautifully, whilst the various inner voices are brought out so beautifully and logically, never breaking the phrase, or without the slightest hint of exaggeration.

Rachmaninoff's technique is one of the best in piano history. The dynamic and rhythmic contrasts are often breathtaking, and his sheer finish of phrasing, combined with his ability to organize the bass in the left hand and the melody in the right hand is simply amazing.

The third piano concerto deserves in-depth commenting. In the first movement, the melody is brought out simply beautifully, and with clarity. The phrasing of the melody is quite magnificent too - Rachmaninoff always adds a little accent on the first note of a phrase which gives taste and beauty to the melody. As for the climax of the first movement, where the piano and the orchestra echo each other - it is very very very moving. Deep and emotional, but never over-sentimentalized, the performance is an epic. The cadenza! The cadenza is simply magnificent. The scales are so even, and in spite of the incredible complexity of the cadenza, the melody is always audible, and in cases where the melody isn't apparent, Rachmaninoff always adds stresses and accents that give a lively feel to the cadenza. His rhythmic sense is unparalleled by any pianist in this performance. Now, the third movement! Alla breve indeed! The opening is played so pianissimo that the triplets are barely heard - and the glissando leading up to the C is fabulous! The theme and the melody is brought out with such beauty throughout the piece, that I must say nobody will ever be able to play this piece better than the composer himself.

But I haven't got to the point yet. What separates Rachmaninoff, as well as Arthur Rubinstein (if I may add), from ALL of the other pianists, is that they are musicians. They do not perform pieces in a manner to merely display their technique, nor do they show any neuroticism or extreme romanticism (as Rubinstein put it). No, their music is touching. They perform music to communicate emotions inexpressible by words, to move the audience, to evoke tears in the eyes of the audience, to put a smile on a depressed face - their piano playing is art itself. Their interpretations of music are full of dreams, and romantic.

The only thing not good about this C.D. is the shortened versions of the second and third concertoes. What I'd give to hear him play the rest of them, to hear them in their entirity... The six-and-a-half foot scowl puts on a show like no other. Combining finesse with power, control with emotion, this man's music will always find an audience. He never claimed to be original, but he said that the music spoke from his heart. This is very apparent from beginning to end. A great source for a pianist wanting to know how HE played it. He doesn't follow his own music scores, doesn't follow dynamics, sometimes just plain adds stuff, and it always comes out pure Rachmaninoff. Nobody else could perform or compose quite like him, and I doubt anybody ever will.

Yes this CD is a great buy for you die-hard Rachmaninoff fans. Me being a student of his music find myself fascinated with the fact that I actually get to hear the man play his own music. I agree that this is not a buy for a first time listener, the background noise is a mild disturbance, but the overall breath-taking performanace is second to none.

Others have said that he mis-interpreted the 3rd Concerto by playing it too fast. WORD TO THE WISE...Rachmaninoff is NOT interpreting Rachmaninoff!!!!! Rachmaninoff is playing HIS own music, the way he wants it and wrote it. It is impossible to interpret that which you created. He plays the Concertos how he wrote them, not how others have said it should be done!!!!! If he wanted the 3rd Concerto to go slower, he would have labeled tempos different and he would have in fact played it as such on this recording, but that's not the case. He played the 3rd Concerto, as well as everything else on the CD, the way he wanted and inteded when he wrote the scores.

Overall, a great buy for Rachmaninoff fans. Questionable for the new listeners.