Rachmaninoff: 王羽佳

Under the title My Rachmaninoff, Alexander Krichel will release his new album on Berlin Classics on March 24, 2023, and with it a very personal tribute to the Russian pianist and composer, whose birthday will be celebrated for the 150th time just a few days later. For his eighth album, Alexander Krichel has selected works that have shaped his strong connection to Rachmaninoff. From the world-famous Prélude Op. 3 No. 2 in C-sharp minor to the virtuosic Corelli Variations and Études- Tableaux, some of the most difficult repertoire written for piano, to the concluding Vocalise, Krichel invites listeners to discover Rachmaninoff's biography musically. He wants to inspire his audience with the music of this great composer in the same way that it once captivated him.

Sergei Rachmaninoff - Rachmaninoff Plays Symphonic Dances: Newly Discovered 1940 Recording (2018) {3CD Set Marston 53022-2}
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© 2018 Marston | 53022-2
Classical / Early 20th Century / Piano Solo / Piano Concerto / Historic Recording

At an impromptu gathering in 1940, Sergei Rachmaninoff demonstrated at the piano just how he wanted his new orchestral work, Symphonic Dances, to be performed. Rachmaninoff, one of the greatest of all pianists, reduced the orchestral score for a single piano on this occasion. That recording is presented here in two versions: first, edited to conform to the score and again, just as the occasion unfolded, as Rachmaninoff jumped from place to place as he demonstrated.

César Franck's Prelude, Variations and Fugue, originally composed for organ and inspired by pieces by J.S. Bach, benefits from Cavaillé-Coll's innovations, which allow the organ to develop virtuoso and colourful playing. Pianist Ivan Yanakov records it here on piano, alongside two other brilliant works: Joseph Haydn's Sonata No 31, whose graceful ornamentation responds to the serene (and unusual) key of A flat major, and Sergei Rachmaninoff's Variations on a Theme by Corelli. Rachmaninoff's last work for solo piano, composed in France after a silence of almost 10 years, is based on the folia theme used by Corelli in his Op. 5, while paying tribute to the Romantic composers, first and foremost Liszt, with unbridled virtuosity and poignant melancholy.

Every pianist in his dream plays Rachmaninoff. Playing Rachmaninoff is part of being a pianist. When I play Rachmaninoff, I may find even greater satisfaction in being part of the ongoing adventure of pianism. When I play Rachmaninoff, my fingers dream, not me. I have chosen one for the album from an uncapturable plethora of Preludes and Etude-images. My selection is purely an intuitive selection of a single illuminating moment. László Borbély

Every pianist in his dream plays Rachmaninoff. Playing Rachmaninoff is part of being a pianist. When I play Rachmaninoff, I may find even greater satisfaction in being part of the ongoing adventure of pianism. When I play Rachmaninoff, my fingers dream, not me. I have chosen one for the album from an uncapturable plethora of Preludes and Etude-images. My selection is purely an intuitive selection of a single illuminating moment. László Borbély

César Franck's Prelude, Variations and Fugue, originally composed for organ and inspired by pieces by J.S. Bach, benefits from Cavaillé-Coll's innovations, which allow the organ to develop virtuoso and colourful playing. Pianist Ivan Yanakov records it here on piano, alongside two other brilliant works: Joseph Haydn's Sonata No 31, whose graceful ornamentation responds to the serene (and unusual) key of A flat major, and Sergei Rachmaninoff's Variations on a Theme by Corelli. Rachmaninoff's last work for solo piano, composed in France after a silence of almost 10 years, is based on the folia theme used by Corelli in his Op. 5, while paying tribute to the Romantic composers, first and foremost Liszt, with unbridled virtuosity and poignant melancholy.