Most Helpful Customer Reviews
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51 of 52 people found the following review helpful:
5.0 out of 5 stars
wonderful playing from all concerned, August 28, 2002
The true joy of this package comes in the way that Ashkenazy's beautiful and steady playing combines seamlessly with Previn's inspired conducting. It is almost as if the piano and the orchestra are playing as one instrument. Of course in a set of Rachmaninoff concertos, the most important are the 2nd and 3rd, and so I shall concentrate my remarks on these. Quite simple Ashkenazy's second is the finest I (or gramophone magazine) have ever heard. The tempos are perfect, the sound rich and the playing luxurious. Ashkenazy plays without a sense of his virtuosity which greatly adds to the artistic integrity of the performance. Indeed it is this which raises the level of the performance above that of flashier versions by Van Cliburn and Sviatoslav Richter. It is, however, the recording of the third that is most intriguing. I am used to pyrotechnical performances of this concerto (I have two by Horowitz and one by Argerich - the Horowtiz/Reiner is unquestionably the greatest recording of all), however, this reading of the work is notable for its lack of showmanship. Ashkenazy takes the work slowly, playing the long chordal cadenza, but he plays it so darkly, so powerfully. The work appears very different to the more "virtuosic" recordings, and is simply fascinating. The conducting of Previn is simply breath-taking as well. Never has the orchestral part had so much power. I have seen this work live twice, but somehow this recording manages to supercede the orchestral excitement of seeing a live performance. The crescendos at the end of the two final movements are stunning, and one simply has to take one's hat off to Andre Previn. In general, therefore, this collection would be very difficult to beat, as is well worth the asking price.
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25 of 26 people found the following review helpful:
5.0 out of 5 stars
Brilliant and passionate, October 20, 1999
By A Customer
I first became acquainted with the Rachmaninov piano concertos on a cold, starlit winter night, spent listening to the radio some years ago. The performances were by Rachmaninov himself, dating from the 1930's I believe, and the cracks and the hisses of the old recordings only seemed to heighten the sense of gentle nostalgia and 'remembrance of times past' inherent in the music.Soon afterwards, I came across these Ashkenazy / Previn interpretations of the P.C.s, bought a copy and immersed myself in the orchestral and pianistic bravura, quite wholeheartedly I must say! For, whereas the vintage Rachmaninov performances (naturally) have a very special place in this repertoire, these '70s recordings more than meet the challenge. The overall sound is full-bodied and warm, detailed without being overtly 'clean' and clinical - and the same can be said for the playing itself. Ashkenazy rather exceeds himself even in the most demanding virtuoso passages, and the accompanying orchestra follows close behind. But most important of all, the interpretations are not mere virtuosity for its own sake; they lack neither fire nor sensibility. Throughout, there is a somewhat dark, Slavonic passion running through the music that keeps you on the edge of your seat from the first note to the last. This is especially true with the second concerto, where the gradually swelling chord sequences of the piano prepare the way for the orchestral entry - and what an entry it is: rarely, if ever, has any piece of music conveyed a sense of longing and homesickness so poignantly. And, from then on to the brilliantly elated final pages, the performance is imbued with unmatched melodic and lyric inspiration. The second and the third concertos are the ones I personally tend to cherish the most, but I suspect that anyone who loves Rachmaninov will want the other two as well - so why hesitate?
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20 of 21 people found the following review helpful:
5.0 out of 5 stars
A clear favorite, April 23, 2003
I love Rachmaninoff, especially these piano concertos, and Ashkenazy and Previn provide us with masterful performances. You really need to compare other performances of these concertos to know just how good these are. The beauty of these performances is that everything comes together with such refinement. Previn exhibits a great understanding of these pieces and the LSO responds well (as usual). Ashkenazy is precise and yet expressive at the same time. He articulates each note so clearly. But more than this, Previn and Ashkenazy are magically attuned to each other. The music flows with a perfect balance between piano and orchestra.These analog recordings from Decca are excellently engineered. The dynamic range is exceptional with a wide soundstage. As with other London/Decca and DG recordings, the midrange brass has a slight edge to it. Also, Ashkenazy is close miked, so his piano extends across 60% of the soundstage, which is not exactly realistic. However, these are minor quibbles that do not detract from a masterful performance and an otherwise expansive, crisp recording. There is no reason to restrict oneself to a single performance of these marvelous concertos. But, if ever I had to restore my collection, I would purchase this set first.
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