Rachmaninov plays Rachmaninov
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Rachmaninov, Pyotr Ilyich Tchaikovsky, Fritz Kreisler, Franz Schubert, Modest Mussorgsky, Felix Mendelssohn, Johann Sebastian Bach, Nikolay Rimsky-Korsakov
Label: Gold Seal
Magazine Review Date: 5/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
Mono
ADD
Catalogue Number: GK87766
Tracks:
| Composition | Artist Credit |
|---|---|
| (24) Preludes, Movement: C sharp minor, Op. 3/2 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (24) Preludes, Movement: G flat, Op. 23/10 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (24) Preludes, Movement: E, Op. 32/3 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (24) Preludes, Movement: F minor, Op. 32/6 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (24) Preludes, Movement: F, Op. 32/7 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (9) Etudes-tableaux, Movement: No. 2 in C |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (9) Etudes-tableaux, Movement: No. 7 in E flat |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (9) Etudes-tableaux, Movement: No. 6 in A minor |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| Daisies |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| Oriental Sketch |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (5) Morceaux de fantaisie, Movement: No. 3, Mélodie in E |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (5) Morceaux de fantaisie, Movement: No. 5, Sérénade in B flat minor |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (7) Morceaux de salon, Movement: No. 5 in G, Humoresque |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| Lilacs |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (6) Moments musicaux, Movement: Allegretto, E flat minor |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| Polka de W. R. |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (3) Sonatas and 3 Partitas, Movement: Partita No. 3 in E, BWV1006 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Sergey Rachmaninov, Piano |
| (A) Midsummer Night's Dream, Movement: Scherzo (Entr'acte to Act 2) |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Sergey Rachmaninov, Piano |
| Liebesfreud |
Fritz Kreisler, Composer
Fritz Kreisler, Composer Sergey Rachmaninov, Piano |
| (Die) Schöne Müllerin, Movement: No. 2, Wohin? |
Franz Schubert, Composer
Franz Schubert, Composer Sergey Rachmaninov, Piano |
| (The) Fair at Sorochintsï, 'Sorochinskaya yarmar, Movement: Gopak |
Modest Mussorgsky, Composer
Modest Mussorgsky, Composer Sergey Rachmaninov, Piano |
| (6) Songs, Movement: No. 1, Cradle song (wds. Maykov) |
Pyotr Ilyich Tchaikovsky, Composer
Pyotr Ilyich Tchaikovsky, Composer Sergey Rachmaninov, Piano |
| (The) Tale of Tsar Saltan, Movement: Flight of the bumble-bee |
Nikolay Rimsky-Korsakov, Composer
Nikolay Rimsky-Korsakov, Composer Sergey Rachmaninov, Piano |
Composer or Director: Sergey Rachmaninov, Pyotr Ilyich Tchaikovsky, Fritz Kreisler, Franz Schubert, Modest Mussorgsky, Felix Mendelssohn, Johann Sebastian Bach, Nikolay Rimsky-Korsakov
Label: Gold Seal
Magazine Review Date: 5/1990
Media Format: CD or Download
Media Runtime: 70
Mastering:
Mono
ADD
Catalogue Number: GD87766
Tracks:
| Composition | Artist Credit |
|---|---|
| (24) Preludes, Movement: C sharp minor, Op. 3/2 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (24) Preludes, Movement: G flat, Op. 23/10 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (24) Preludes, Movement: E, Op. 32/3 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (24) Preludes, Movement: F minor, Op. 32/6 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (24) Preludes, Movement: F, Op. 32/7 |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (9) Etudes-tableaux, Movement: No. 2 in C |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (9) Etudes-tableaux, Movement: No. 7 in E flat |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (9) Etudes-tableaux, Movement: No. 6 in A minor |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| Daisies |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| Oriental Sketch |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (5) Morceaux de fantaisie, Movement: No. 3, Mélodie in E |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (5) Morceaux de fantaisie, Movement: No. 5, Sérénade in B flat minor |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| (7) Morceaux de salon, Movement: No. 5 in G, Humoresque |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Piano Sergey Rachmaninov, Composer |
| Lilacs |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (6) Moments musicaux, Movement: Allegretto, E flat minor |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| Polka de W. R. |
Sergey Rachmaninov, Composer
Sergey Rachmaninov, Composer Sergey Rachmaninov, Piano |
| (3) Sonatas and 3 Partitas, Movement: Partita No. 3 in E, BWV1006 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Sergey Rachmaninov, Piano |
| (A) Midsummer Night's Dream, Movement: Scherzo (Entr'acte to Act 2) |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Sergey Rachmaninov, Piano |
| Liebesfreud |
Fritz Kreisler, Composer
Fritz Kreisler, Composer Sergey Rachmaninov, Piano |
| (Die) Schöne Müllerin, Movement: No. 2, Wohin? |
Franz Schubert, Composer
Franz Schubert, Composer Sergey Rachmaninov, Piano |
| (The) Fair at Sorochintsï, 'Sorochinskaya yarmar, Movement: Gopak |
Modest Mussorgsky, Composer
Modest Mussorgsky, Composer Sergey Rachmaninov, Piano |
| (6) Songs, Movement: No. 1, Cradle song (wds. Maykov) |
Pyotr Ilyich Tchaikovsky, Composer
Pyotr Ilyich Tchaikovsky, Composer Sergey Rachmaninov, Piano |
| (The) Tale of Tsar Saltan, Movement: Flight of the bumble-bee |
Nikolay Rimsky-Korsakov, Composer
Nikolay Rimsky-Korsakov, Composer Sergey Rachmaninov, Piano |
Author: James Methuen-Campbell
Very fortunately, Rachmaninov's consummate genius as a pianist was captured on a number of records. They stand as one of the truly important legacies of the early years of the gramophone industry. In the recordings of his own music one is especially interested to hear how such a grim-looking man could be reconciled with some of the most tender and whimsical pieces ever written for the instrument. It turns out that his interpretations are model in terms of fluent, yet almost classically controlled, expressivity. The subtlety of Rachmaninov's artistry never acted against his very lively attitude towards performance.
After a selection of lesser-known Preludes, each of which contains that miraculously balanced relationship between melody and accompaniment for which the composer-pianist was idolized, there are three of theEtudes-tableaux and the piece Daisies. Whereas two of the former show the grittier and more gaunt side of the Russian, Daisies, by way of contrast, has the feel of a Gershwin song transcription. Its warmth and colour are indescribable.
Three earlier pieces demonstrate just how early in his creative life Rachmaninov was able to find a distinctive style. The dynamic contrasts prescribed in the Humoresque may have been ironed out here in consideration for the recording process, but the latter part of the piece has a power and diablerie that almost outdoes Horowitz. Both the Polka de VR and the Liebesfreud have a far more directly light and gay mood than one normally hears. Everywhere there is a gentle, teasing humour. The Bach, recorded a year before Rachmaninov's death, shows some deterioration in his playing. Of the other transcriptions, the Schubert really is pretty terrible with its highly elaborate accompaniment. The Tchaikovsky, in which there is a melancholy and dreamy use of piano tone, finds the pianist delighting in the pureness of the instrument's sonority.
This anthology includes nearly all the electric 78s that Rachmaninov recorded of his own music. They date from April 1925, the year in which the first electric recordings came into general use, to February 1942. However, nine of the pieces are the product of one's day's sessions in March 1940. Quite naturally, the sound-quality varies a certain amount, as does the amount of surface noise, with the Gopak being about the most primitive. Nevertheless, a definite and individual use of piano tone is apparent in every note that Rachmaninov plays and this consistency itself speaks for the fidelity of the recordings.'
After a selection of lesser-known Preludes, each of which contains that miraculously balanced relationship between melody and accompaniment for which the composer-pianist was idolized, there are three of the
Three earlier pieces demonstrate just how early in his creative life Rachmaninov was able to find a distinctive style. The dynamic contrasts prescribed in the Humoresque may have been ironed out here in consideration for the recording process, but the latter part of the piece has a power and diablerie that almost outdoes Horowitz. Both the Polka de VR and the Liebesfreud have a far more directly light and gay mood than one normally hears. Everywhere there is a gentle, teasing humour. The Bach, recorded a year before Rachmaninov's death, shows some deterioration in his playing. Of the other transcriptions, the Schubert really is pretty terrible with its highly elaborate accompaniment. The Tchaikovsky, in which there is a melancholy and dreamy use of piano tone, finds the pianist delighting in the pureness of the instrument's sonority.
This anthology includes nearly all the electric 78s that Rachmaninov recorded of his own music. They date from April 1925, the year in which the first electric recordings came into general use, to February 1942. However, nine of the pieces are the product of one's day's sessions in March 1940. Quite naturally, the sound-quality varies a certain amount, as does the amount of surface noise, with the Gopak being about the most primitive. Nevertheless, a definite and individual use of piano tone is apparent in every note that Rachmaninov plays and this consistency itself speaks for the fidelity of the recordings.'
Rachmaninov plays Rachmaninov
Rachmaninov plays Rachmaninov
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