Customer Reviews

Sergi Rachmaninoff: Concertos Nos. 1 & 4/Rhapsody, Op. 43

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There are four piano concertos, and the Rhapsody on a theme of Paganini, written in 1934 and the last of his works for piano and orchestra. The composer's own mono recordings are indispensable as a point of reference. The best transfers of all five works are on two Naxos CDs issued in 1999.

This is a very fine (and well filled) CD of concertos Nos 1 and 4 and the Paganini Rhapsody, by Earl Wild: this account of the Rhapsody can lay claim to be the most brilliant ever recorded.

If the two concertos are occasionally played a little too quickly for comfort, they can be regarded as a dazzling bonus for the Rhapsody. The recordings date from the mid-1960s but still sound marvellous.

The best performance of No 1 on record is probably that by Mikhail Pletnev on Virgin Classics made in 1987: his playing in the slow movement is exquisite. The coupled Paganini Rhapsody is also recommendable: not quite in the class of Wild's but a fine performance all the same.

Chesky's remaster of Earl Wild's recording of the Grieg Piano Concerto is gorgeous - warm and detailed. The Rachmaninov remasters however are stripped bare - they're too clean. Piano sound is good but the orchestra sounds old and shrill because the warmth has gone. Surprising and disappointing. The Chandos remasters actually sound better (and all the concertos and rhapsody are on 2CDs). Performance of course is brilliant.

At the moment to comment any work for piano and Orchestra of this Russian composer, it' s unavoidable not to talk about William Kapell. He signed for the eternity the most praised reviews.

This album is excellent, in spite of the fact Wild is in another level respect to Kapell.

If I had not listened the monumental version of the First Concerto under Monteux's conduction with the San Francisco Symphony,I would surely have bet by this one.

Something similar happens with the Rhapsody Op.43 in both versions with Rodzinski and Reiner,Kapell makes an impressive tour de force, illuminating the score to unthinkable levels.

Rachmaninov's Fourth Piano Concerto is possibly the least known of the quartet. With this outstanding Op. Sergei surmounted the frontiers of the romantic mood to place himself in a personal atmosphere of cosmic refelxion and precognitive meditation. Profoundly expressive and fiercely played, this work is a true revelation for all those who still ignore or simply have decided include it among another additional piece of the romantic repertoire.

Hovered of a visible introspective feature, the composer seems to be immersed into an atmosphere of livings, without overindulgent inflections, where the changing tonality and rough modulations seduces even the most exigent listener.

This aerial lyricism, is perhaps the main strength and simultaneously, the major weakness, because of the fact it breaks with all the previous canons.

This is honorable and worthy to listen version. But unfortunately or fortunately, according the case, there's a historical performance, never equaled and obviously surmounted. I'm talking about a living register made by William Kapell under Thomas Schippers' s direction with the New York Philharmonic, from 1952. This is the most sublime interpretation never recorded of this work. Listening to Kapell, you will be conveyed from the first bars to another universe, loaded of plethoric emotion, flaming pianism and mercurial energy.

Thanks to the never ending generosity of an unforgettable friend I have a copy of this historical performance that I really hope someday be released commercially.

So, in absence of this last one, this is an honorable option.