Customer Reviews

Rachmaninov: Piano Concertos Nos. 1 & 2

5 star:		(6)
4 star:		(2)
3 star:		(0)
2 star:		(2)
1 star:		(1)

 

 

After Andsnes' superb Grieg Concerto, also with the BPO (under Jansons rather than Pappano) I was anxious to hear this new recording, and was glad I did - it's excellent.
This CD comes into competition with Krystian Zimerman's recording of the same two concertos with Ozawa, released by DG last year. That version of the First was also extremely fine, but with a rather different interpretation. Zimerman's was fiery and intense (he explained in interviews at the time that these were youthful works and needed to explode - `you don't play the Rachmaninov concertos, you live them', I seem to recall). His playing was high voltage throughout whereas Andsnes, with no lack of fire, takes a more patrician approach which give just as fine rewards. Pappano gives superb support as well, this is very much a successful symbiosis, with the BPO playing like the great orchestra we know they are. This ranks alongside the greatest Firsts: the composer himself, Janis and Pletnev as well as Zimerman.

Also the DG recording was sharp-edged and intense, whereas this EMI disc is slightly mellower with the piano and orchestra wonderfully blended. I do prefer the piano sound here as well: it's rich and sounds beautiful, but is ideally focused as well. Some found the Zimerman `sound', coupled with his high octane pianism (electrifying though it is) tiring on the ear after a while.

Zimerman has often said that recording the sound of his playing is problematic; he hasn't made a solo recording for 10 years for this exact reason - which is perhaps one reason why sonic deficiencies all but wrecked his version of the Second, where the solo instrument is much too closely observed, giving a clattery feel to the performance, with every note audible.

No such problems here: recorded live in the Berlin Philharmonie, Andsnes' version of the Second is very enjoyable, full of wonderful touches from soloist, conductor and orchestra: the exciting climax and coda of the first movement are finely handled, while in the slow movement, slightly more flowing than normal, the collaboration between Andsnes and orchestral soloists (particularly the flute, presumably BPO Principal Emanuel Pahud, given fine presence) is gorgeous.

In the Finale's lovely second subject Pappano manages to impart some idiomatic Slavonic melancholy, if not quite as much as Ashkenazy when conducting for Helene Grimaud in her excellent version, which alongside this new Andsnes version is my favourite in digital sound. Also hear the brooding lower strings in the build up to the finale's climax which, as with Andsnes' Grieg, is played at full throttle but strictly `a tempo', with no playing to the gallery. Even so, they don't surpass Grimaud and Ashkenazy in sweep and power here. There is about 15 seconds of applause, not separately tracked.

If you've got Richter's classic account on DG, Grimaud on Teldec, and Andsnes in the Second, I think you've got all bases covered.

What a wonderful addition to the catalogue of Rachmaninov concertos! Leif Ove Andsnes has carefully considered the score and Rachmaninov's own recordings, and he manages to give a fresh and intimate reading of this much-celebrated music without overdoing every nuance and stretching every phrase. So many performances of these pieces want to tell you exactly how you should feel about this music; the emotions are often forced onto you. Here, though, the romance is more subtle and is found in beauty of natural phrasing, careful balance, and what I can only describe as personal storytelling. This performance would go well with the story of Romeo and Juliet-there is a youth and innocence, as well as passion and yearning. I am reminded that Rachmaninov composed this concerto when he was young.

Andsnes's technique is flawless, and he plays with a rare clarity that allows you to hear every single note. Each note is there for a purpose, and he has discovered how they each fit with one another in the larger picture (e.g., Track 4, 2:34). He also knows when and how to accompany the orchestra. Together, he and the Berlin Philharmonic, with its lush strings and gorgeous wind playing, make a wonderful partnership. The orchestra, under Antonio Pappano, is stunning and always engaged. The EMI engineering team gets credit for capturing all of the orchestra's many colors and subtleties. Unfortunately, it also captures some of the conductor's excessive breathing, but I think this is a very small price to pay for this stunning performance. The second concerto was recorded live, and the audience noise is minimal and unobtrusive throughout.

Overall, I have found this disc to be a great investment. Upon first hearing of this recording, you will discover parts in both the piano and orchestra that you had never heard before (e.g., listen to the string pizzicati that is usually covered up at Track 5, 2:01). Add that to the refreshing way Andsnes keeps the tempos flowing and manages to never lose a phrase with subtle rubato, and you have a reason to buy this recording even if you already own several. Highly recommended.

When it comes to contemporary interpretations of these beloved Rachmaninov piano concerti there are options and choices: some will favor the opulently virtuosic jumping off the piano bench, heart on the sleeve, guaranteed standing ovation manner where pianist vies for attention with composer; some will prefer the musical elegance to the show biz glitz and find new threads of continuity forming from the musicality of less self-serving musicians. Leif Ove Andsnes clearly belongs more in the latter category.

That is not to say that the heart of the works is flat: quite the opposite. Andsnes plays with such virtuosity that his attention to line and detail allows each of the 'big moments' to develop intelligently, sensitively, and the result is even stronger payoffs. His tone is never forced or rushed and even in the most technically challenging measures of each work his ability to make every note available to the listener's ear is a feat accomplished by few others.

Anthony Pappano and the Berlin Philharmonic provide lush, powerful reinforcement of Andsnes' choices. The orchestra blooms when starred (some very fine first desk solos here!) and supports when the piano sings the melodies. Some would say this is a thinking person's Rachmaninov, but Andsnes appeals both to the mind and the heart in this warmly detailed reading of two old warhorses of concerti. Highly recommended. Grady Harp, December 05

A musician could give us the best album the world has ever seen, and there would still be those who would attempt to tear it down. This explains the negative reviews of this CD. Leif Ove Andsnes and the Berlin Philharmonic are in top form here--I have a tough time seeing where the negative reviewers are coming from.

The Rachmaninov First Concerto has a youthful quality to it while still sounding surprisingly mature. Written when Rachmaninov was still in his teens, it already contains the passion and melancholy that is so characteristic of Rachmaninov. We hear intimate playing coming from both Andsnes and Berlin throughout. The music sounds fresh from the pen. Instead of focusing on the outward qualities, Andsnes and Berlin go straight to the heart. The finale is especially satisfying here. The roof-raising theme is interpreted in a way that will have you sitting on the edge of your seat.

The Second Concerto is, of course, much more familiar, and rightly so. Some reviewers will want to tell you that Andsnes and Berlin disappoint here. Don't be having any of it. Here Andsnes and Berlin pull out almost all of the potential music. Rather than resorting to hysteria, Andsnes and Berlin give us inward music that brings tears to the eyes. Andsnes' playing is flawless technically, which enables him to pull out wonderful detail. And Berlin accompanies him marvelously, engaging in wonderful chamber-type conversation with him. In the opening movement, we hear a strong contrast between the poetic, reflective moments, and the climaxes. The second movement is unbelievably good. I have heard several performances of this unforgettable movement, but never have I heard a performance half this satisfying. Andsnes gently pulls the beauty out of every note. Emmanuel Pahud's solo on the flute at the opening is worth the price of the whole disc. And Pappano leads Berlin in a wonderful accompaniment. The music is made to speak for itself but still speaks in a outstanding way. This is the way it is supposed to be. In the finale, we are instantly put on the edge of our seats. Then we are greeted with a lovely rendition of the second, lyric theme.

I honestly cannot possibly express my strong feelings for this CD. With such a stunning orchestra as Berlin and such a poetic, thoughtful pianist as Andsnes, you could not possibly go wrong. Buy it.

Rachmaninov: Piano Concertos Nos. 1 & 2 is a 2005 EMI Records recording starring Norwegian pianist Leif Ove Adsnes. Antonio Pappano leads the Berliner Philharmoniker. Julian Haylock has written the music notes. Being a fellow Scandinavian I am extra proud of Andsnes performance. Truly a magical performance on his behalf. I enjoyed every second. Highly recommended indeed. 5/5.

This recording reminds me so much of the Rach 2 by Julius katchen/Georg Solti. Andsnes and Pappano study and understand rachmaninoff's own recording very well. The performance here, especially the Rach 2, is peerless and stands with the few reference recording in history.

This is a complete, engaging, clear and sparse recording of perhaps the most famous piano concerto in the repertoire, alongside one of Rachmaninov's more underrated works. I recommend it highly, but not for a first time listener who I feel would be better served with Ashkenazy's recordings.

A pianist approaching Rachmaninov's 2nd piano concerto seeks to imprint their name on the music, but what good is that when Rachmaninov is all we can remember? In that respect, then, a successful modern recording is one that avoids bravado and ego, and looks to draw the music gracefully through its paces, to let the listener draw their own conclusion. This is what Andsnes and Pappano achieve in this highly elegant recording.

I cannot hear a note misplaced in the entire recording, and better still, I can hear every single note played - much easier said than done, when there are so many notes to play in quick succession or at the same time. Andsnes holds the melodic thread and intensity extremely well.

This goes for the 1st as much as the 2nd. The former definitely sounds like a "first" - there is a sense of themes being wrestled with, rather than conquered as the second achieves - and Andsnes in that respect is justifiably a little wilder with his playing here.

If I lack something, it is what I'd like to call the "Horowitz effect" - the sense that the piano is smoking throughout the piece and only the inhuman efforts of the pianist get it to the finish line. This is a piece brought to graceful completion, the pianist very much in control, and this makes for a wonderful listen that has me shaking my head each time, wondering whether I perhaps just skipped a little bit here or there...

Rachmaninov's first concerto can be labeled "Baby Rachmaninov." It was written by Rachmaninov when he was 17/18 (I forgot) and revised before he left for America. Like a lot of people I am a great fan of his second concerto. His first concerto, although less grand in scope, and perhaps less heavy and sorrowful than the second, is very melodic and taunting.

Andsnes interpretation is very neat/clean. He does not distort the music too much. So as long as you appreciate the music you don't get sick of it. But you may not get addicted to it since it lacks subtance and unique touch by the pianist. Andsnes does a very poor job in the climax. It definitely is not heavy and grand as it can be. Otherwise the beginning chords and melody are nice, and the orchestra is great.

The second concerto is HORRIBLE (which is very noticeable, because there are so many great recordings to compare to) In my opinion, Andsnes lacks the spirit of Rachmaninov.

I am intimately familiar with the first concerto having played it (there are a couple of different versions with subtle differences), and I must say that the playing here is very flat. The pianist does not instill any life into the piece. I guess for the first concerto there are not as many interpretations and therefore less barometers to compare this to, though I very much prefer Ashkenazy's playing.

The second concerto is much worse. The pianist is playing too softly in the third movement, the orchestra too forwardly, flippantly aqnd nonchalant. It sounds like the performers want to get this over with and go fill out their tax returns. Basically the only thing the pianist is doing is playing the notes. He does not instill any new ideas into the piece. It does pose a problem for a pianist to play a piece as popular as this.... but the solution is not to play the notes and nothing else (maybe this is away of hedging one's reputation in light of critics). The orchestra in the third movement tries to play in a jumpy staccato like fashion which just doesn't fit Rachmaninov at all.
There are many better versions and I would start with Richter and Ashkenazy.

I leave it to others to characterize the performance and its merits. Whatever they may be, they're deeply compromised by the technical failure of the finished production. A narrow soundstage, the dryness of the strings and a near-complete loss of Andsnes' justly celebrated tonal palette compare poorly with the promotional video, a fine rehearsal session with decidedly more generous audio qualities. I'll keep the disc - it's interesting on other levels - but won't reach for it except perhaps as an example of expert performance denatured in its journey from concert hall to finished disc.