Rachmaninov: Sergei Rachmaninov

While there are plenty of contestants these days for the top spot in the "who's got the best recording of Rachmaninov?"" competition, one could persuasively argue that this 1993 recording with Nikolai Korniev directing the St. Petersburg Chamber Choir is the best. First, of course, the choir is Russian, which means that they've got the right tone, the right technique, the right intonation, and, best of all, the right basses for the job because no choir anywhere can hit low B flats like Russian basses. Second, the director is a dedicated choral conductor, which means that he's not using this disc as an audition for recording operas, oratorios, or symphonies, but rather doing it for the sake of the music.

This year marks 150 years since the birth of Rachmaninov. Following on from his formidable complete recording of the Preludes, Nikolai Lugansky now immerses us in two more major cycles by the Russian composer, the Études- Tableaux.
Like Chopin and Liszt, Rachmaninov here transcends every technical difficulty to make room for emotion alone. At once poet and virtuoso, Nikolai Lugansky is unmatched in his ability to do justice to this prodigious musical kaleidoscope, a fitting tribute on the anniversary of such a celebrated artist.

To celebrate the 150th birthday of Sergei Rachmaninoff (1873-1943), Yuja Wang joined the L.A. Philharmonic under the baton of Gustavo Dudamel to perform all four of the composer's piano concertos and his Rhapsody on a Theme of Paganini over two consecutive weekends. This ambitious project took place at Walt Disney Concert Hall in Los Angeles, the city where Rachmaninoff spent the last months of his life.

Composed in 1910, but only reconstructed from parts as late as the 1980s, after a long period of obscurity, the Liturgy of St. John Chrysostom is one of Sergey Rachmaninov's most profoundly moving choral works, as well as one of his most harmonically rich and sonically radiant compositions. This setting of the Liturgy, along with Rachmaninov's Vespers and other sacred pieces, enjoyed a significant revival in the 1990s during the general awakening of interest in religious music for meditative listening, and their popularity has continued through periodic releases of first-rate recordings.

Wild is a 'larger than life' pianist, one who can spin out a lyrical line and use romantic gestures without ever sounding self-conscious. His balance of excitement and control, and, indeed, his gorgeous sound, are a constant marvel.

‘Rachmaninov fans won’t want to miss this’ was Gramophone’s verdict on Steven Osborne’s recording of the Études-tableaux, and this thrilling new release is an equally essential acquisition. Osborne proves a predictably fine exponent of the Faustian Piano Sonata No 1 and is no less compelling in the selection of shorter works which completes the album.

Gianadnrea Noseda and the BBC Philharmonic have the work’s measure and their performance has a full-blooded intensity and fire. Tempos are well judged and orchestral textures well blended. Noseda balances a strong sense of the piece’s architecture with its expressive eloquence and rich nostalgia it is a reading that can rank alongside the classic Ormandy and Pletnev accounts, both of whom bring a special authority to the Symphony.

Unlikely his First Symphony, Symphony No.2 is standard orchestral repertoire. A recent concert at the Bridgewater Hall, elicited the review, ‘Noseda showed his remarkable affinity with Rachmaninoff’s style. He combines an ability to sustain the long structures of its emotional climaxes with a vocalistic approach to phrasing which lifts the tunes out of the texture and lefts them sing. It’s almost operatic in its vividness.’ City Life.

The Symphony No. 2 in E minor, Op. 27, is a symphony by the Russian composer Sergei Rachmaninoff, written in 1906–07. The premiere was conducted by the composer himself in Saint Petersburg on 8 February 1908. Its duration is approximately 60 minutes when performed uncut; cut performances can be as short as 35 minutes. The score is dedicated to Sergei Taneyev, a Russian composer, teacher, theorist, author, and pupil of Pyotr Ilyich Tchaikovsky. Alongside his Piano Concerto No. 2 and Piano Concerto No. 3, this symphony remains one of the composer's best known compositions.

The Clarion Choir and its Artistic Director Steven Fox make their Pentatone debut with a recording of Sergei Rachmaninoff’s choral masterpiece, the All-Night Vigil, demonstrating their exceptional proficiency in Russian repertoire. The All-Night Vigil is an evening service that gradually moves towards daybreak, symbolizing the Resurrection of Christ. This message of light and hope emanating from the darkness is both universal and very topical in the troubled world we find ourselves in. On this recording, many of the movements are preceded by the original Kiev and Znameny chants on which Rachmaninoff based his composition, adding another layer to this mesmerizing piece.