Rachmaninov - Piano Concertos no2,3,1,4 & Rhapsody (recording of the Century : Earl Wild /Horenstein)

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Sergey Vasil’yevich Rachmaninov (1873-1943)

Piano Concerto #2 In C Minor, Op. 18

1. Moderato (00:00)
2. Adagio sostenuto (09:22)
3. Allegro scherzando (19:47)

Piano Concerto #3 In D Minor, Op. 30

1. Allegro Ma Non Tanto (30:32)
2. Intermezzo_ Adagio (45:34)
3. Finale_ Alla Breve (54:15)

Rhapsody On A Theme Of Paganini, Op. 43 (1:06:05)

Piano Concerto #1 In F Sharp Minor, Op. 1

1- Vivace (1:26:46)
2- Andante (1:38:46)
3- Allegro Vivace (1:44:22)

Piano Concerto #4 In G Minor, Op. 40

1. Allegro Vivace (1:51:10)
2. Largo (2:00:11)
3. Allegro Vivace (2:05:38)


Piano : Earl Wild
Royal Philharmonic Orchestra
Conductor : Jascha Horenstein
Stéréo recording in 1965
Label : Chandos Classics

« The enormous popular success some few of Rachmaninov’s work had in his lifetime is not likely to last.. » Thus wrote the distinguished critic Rosa Newmarch (1857-1940), as updated by her editor, Eric Blom.

Before we laugh at Mrs Newmarch’s (or was it Dr Blom’s ?) naivety, or lack of judgement, perhaps we should remember that Rachmaninov’s posthumous popular triumph has depended almost ‘entirely’ upon the Second and Third Piano Concertos and the Rhapsody on a Theme of Paganini : three works from an opus count of forty-five.

There is a danger of regarding the four concertos as four views of the same landscape : one of the virtues of a collected edition like the present CD is that it enables us to discover, beneath the cloak of Rachmaninovian manners that is to some extent common to all the concertos, some very different musical events taking place.

With the Third Concerto this is probably the most completely achieved of Rachmaninov’s five works for piano and orchestra, but all five can reveal to the attentive listener a great deal more than simply a composer who had an unsurpassable piano technique and a memorable way with a good tune.

In the second concerto, the second movement know a devastating success. For contrast, he finds the most famous, the ultimately archetypical of his tune, heard three times before the concerto moves to its rattling, bring-the-house-down conclusion.. (09:22)

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