Gershwin: Rhapsody in Blue

Following the success of his first Decca release of solo piano music by Chopin, Liszt, and Ravel, Benjamin Grosvenor demonstrates his aptitude in the concerto repertoire on his second CD, Rhapsody in Blue, recorded with James Judd and the Royal Liverpool Philharmonic Orchestra. This is a refreshing change from the usual Tchaikovsky or Rachmaninov concertos one hears from young artists eager to impress, and Grosvenor is clever enough to play not only engaging concertos by Saint-Saëns, Ravel, and Gershwin, but to toss in short bon-bons by these composers to sweeten the program.

Russian pianist Denis Matsuev has established himself as one of the most dynamic and virtuosic performers of his generation, and his program on this RCA album with Alan Gilbert and the New York Philharmonic is ideally suited to his extraordinary abilities. The pairing of Sergey Rachmaninov's Piano Concerto No. 2 in C minor and George Gershwin's Rhapsody in Blue is a natural one, particularly because of the works' shared post-romanticism (note Rachmaninov's influence on Gershwin's slow theme in the Rhapsody), as well as for the dazzling writing for the piano in both works. Of course, the challenge for Matsuev is to make his part appear effortless, and he succeeds so well in both performances that listeners may be a bit blasé about his playing, taking it in without really considering what knuckle-busters these pieces really are.

An historical album if there is one, with its iconic cover photo. Conducting from the piano in Rhapsody in Blue, Leonard Bernstein manages to capture the lean vigor and impertinence that emanates from the work. He whips up a beefy orchestral contour while subtly jazzy, intensely inspired and romantic in feeling. The dynamic Suite An American in Paris is full of that energy that Bernstein used to know how to distil like no other did. Listen to the orchestra rip into the Charleston. These recordings, from 1958-59, are fabulous, and well worthy of their reference status. The famous West Side Story Symphonic Dances, and the Symphonic Suite "On the Waterfront" complete this album of American music bursting with infectious enthusiasm.

An historical album if there is one, with its iconic cover photo. Conducting from the piano in Rhapsody in Blue, Leonard Bernstein manages to capture the lean vigor and impertinence that emanates from the work. He whips up a beefy orchestral contour while subtly jazzy, intensely inspired and romantic in feeling. The dynamic Suite An American in Paris is full of that energy that Bernstein used to know how to distil like no other did. Listen to the orchestra rip into the Charleston. These recordings, from 1958-59, are fabulous, and well worthy of their reference status. The famous West Side Story Symphonic Dances, and the Symphonic Suite "On the Waterfront" complete this album of American music bursting with infectious enthusiasm.