RACHMANINOFF, Sergei (1873-1943)
Concerto No.2 in c for Piano and Orchestra, Op. 18
Douglas, Thomas, London Sym. + Interview (LD) RCA 61786
+ Preludes (CD) RCA 61679
Weissenberg, Karajan, Berlin Phil. + etc. (LD) DG 072204
Richter, Wislocki, Warsaw Phil. + Tch.:Pno.Con.1 DG 447420
This successful concerto demands an herculean soloist
because in many loud passages orchestra and piano compete. The
conductor must be careful to keep the balance and the same care
must be followed by the recording engineer. Add to this the need
for a good recording venue and we have a combination seldom to
occur.
Douglas, Thomas and engineer Simon Rhodes reached the
perfect balance for this work, and the video includes a delightful
interview conducted by Dudley Moore.
Wolfgang Gulich did a very good job in the video for DG,
but failed in the studio for EMI, so I do not recommend the CD
version of Weissenberg - Karajan collaboration.
Richter was THE herculean soloist in the stereo era, among
other virtues, and remains a reference to evaluate all the others.
Concerto No.3 in d for Piano and Orchestra, Op. 30
Janis, Dorati, London Sym. + Con.2 + Etc. Mercury 432759
Askenazy, Haitink, Concertgebouw Orch. London 417239
Rachmaninoff composed two alternative cadenzas for the 1st.
movement of this concerto, one lighter and faster, played by Janis,
and other heavier and larger, played by Askenazy. I prefer the
lighter but consider Askenazy one of the few to succeed in the
heavier.
The balance between piano and orchestra is easier than in
the second Concerto, but the piano part in no less demanding.
Janis' performance is a beauty and Mercury recording is
among the best ever made. Askenazy received first class digital
recording from London.
The Op. 18 that comes in this Mercury CD is a sad example
of how important is the location to a recording. The boxy sound of
Northrop Auditorium in Minneapolis makes this work seem deformed.
Rhapsody on a Theme of Paganini, Op. 43
Davidovich, Jarvi, Concertgebouw Orch.+ Etc. Philips 410052
A very good work often played but not so often well
recorded. This recording has all the qualities I looked for in some
others. Comes with a good performance of S.Saenz' second Piano
Concerto.
RAVEL, Maurice (1875-1937)
Alborada del gracioso (1905)
Bolero (1927)
Daphnis et Chloe - Suite No.2 (1911)
Pavane pour une infante defunte (1899)
Le Tombeau de Couperin (1917)
Barenboim, Paris Orch. (Bol., Pav., Daph., etc.) DG 400061
Barenboim, Chicago Sym. (Alb.,Bol.,Pav.,Daph.) Erato 45766
Dutoit, Montreal Sym. (Bol.,Pav.,Daph.,etc.) London 430714
Mata, Dallas Sym. (Alborada, Bolero, Tomb., etc.) RCA 60485
The Erato CD has the best selection of Ravel works. These
are the recordings of Ravel's music that I recommend.
RIMSKY-KORSAKOV, Nikolai (1844-1908)
Capriccio espagnol, Op. 34
Dorati, London Sym. + Easter + Coq. + Etc Mercury 434308
This recording put all the others to shame. It does full
justice to the label trademark by reproducing this performance in
living presence. The London Symphony is a marvel in all
departments. A mandatory item to any good collection.
Russian Easter Overture, Op. 36
Dorati, London Sym. + Cap. + Coq. + Etc. Mercury 434308
Stokowski, Chicago Sym. + Scheherazade (Reiner) RCA 68335
Stokowski, Chicago Symphony, producer Howard Scott and
engineer Paul Goodman made something almost impossible: A recording
for RCA even better than the Mercury one.( I must inform that there
is a sudden volume drop in the start of the first strong passage
that is a consequence of tape editing, something RCA ought to have
fixed as I did easily in my computer. This can also be compensated
on the volume control during playback, but is a nuisance.)
Stokowski unique reading of this score is splendid.
Scheherazade, Op. 35
Kondrashin, Concertgebouw Orch. Philips 400021
+ Markevitch, London Sym. on Opp.34,36 Philips 442643
Ozawa, Boston Sym. + Cap. (Jarvi) DG 439443
Reiner, Chicago Sym. + Easter (Stokowski) RCA 68335
The ultimate orchestral showpiece deserves a top rank
orchestra, a rich sounding hall, superb engineering, and energetic
conducting. This combination of factors I found in the three
recordings of this work indicated above.
The list is in sound quality order with Kondrashin leading
the group. Reiner's is No.67 of basic 100 collection of low price
classical CDs.
Ozawa recorded it again in 1993 with Vienna Philharmonic
for Philips but the engineering is disappointing. It is a concert
recording made with microphones too close and so loosing the hall
character. Also Philips producer was stupid to the point of
including applause at the start.
RODRIGO, Joaquin b.1901
Concierto de Aranjuez for Guitar & Orchestra (1939)
Bonell, Dutoit, Montreal Sym. + Fant. + etc. London 448243
Zabaleta (harp), de Burgos, Spanish N.O. (LP) Angel 37042
The London CD is a state of the art digital recording at
bargain price. The unique recording by Zabaleta never saw the laser
light.
ROSSINI, Gioacchino (1792-1868)
The Barber of Seville - Opera (1816)
Baltsa, Araiza, Allen, Marriner, ASMF 3 CDs Philips 411058
(excerpts of above) Philips 412266
A great recording of his operatic masterwork. Philips also
released a CD of highlights to reach the widest audience.
Overtures (Barber, Cenerentola, Gazza ladra, Scala di seta,
Semiramide, Signor Bruschino, William Tell, others)
Chailly, National Phil. (no Cenerentola) 2CDs London 443850
Dutoit, Montreal Sym. Decca or London 433074
Marriner, ASMF (no Signor) Philips 412893
These seven exhilarating works are my favorite among the
many overtures he composed. Marriner recorded them all, but sadly
Philips made Il Signor Bruschino only available in the 3 CDs set.
Sonatas for Strings (6) (1804)
Marriner, ASMF (complete) + etc. 2 CDs London 430563
Karajan, Berlin Phil. (1,2,3,6) (LP) DG 139041
The Sonata No.2 is a beauty that once I heard became
addicted to. This was the first recording by Marriner and his
musicians in my collection. Karajan also included these works in
his repertory.
Stabat Mater (1842)
Chung, Vienna Phil. DG 449178
Orgonasova, Bartoli, Gimenez, Scandiuzzi
Giulini, Philharmonia Orch. DG 410034
Ricciarelli, Terrani, Gonzales, Raimondi
Schippers, Cincinnati Sym. Vox-MMG MCD 10060
Lee, Quivar, Riegel, Plishka
This is an uneven work, with an Introduction, final Quartet
and Finale sublime like Mozart, and some others like Cujus animam
resembling his comic operas. I believe that it was inspired by some
profane satire just like Carmina burana. In this perspective it
becomes feasible as a whole.
© Copyright 2000 Amilcar Schiappe Pereira End of section R