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Product Description
From the Label
Following huge success with his first recording of Mozart in 2004, Leif Ove Andsnes turns his attention to two ‘warhorses’ of the piano repertoire, Rachmaninov’s First and Second Piano Concertos. The second concerto was recorded live in concert at the Berlin Philharmonie at the beginning of June 2005 under the direction of exclusive EMI Classics artist Antonio Pappano. The team immediately followed concert with a studio recording of Piano Concerto No.1.
It is clear that Leif Ove has made these two concertos very much his own and has lived with the music for a long time before committing to disc. Drawing on many influences, including his life in Scandanavia, which is as important to him as Rachmaninov’s own Russian milieu was to the composer, Leif Ove makes a bold claim for his own interpretations. While not imitating Rachmaninov’s well documented performances, which were said to be marked by ‘precision, rhythmic drive, a refined legato and an ability for complete clarity in complex textures’, Leif Ove hopes to have come close to his original intentions - A Rachmaninov pianist for our times.
One of Mr. Andsnes’ earliest recordings on EMI Classics was the Rachmaninov Piano Concerto No. 3. The recording was critically acclaimed and in the long run has turned out to be his best selling recording. This new recording of 1 & 2 is a natural companion to that early recording and should naturally prove as successful.
This release will feature fingerprinting technology, which allows the consumer to access a bonus track from Leif Ove Andsnes via a secret website which can be unlocked with information encoded on the CD.
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Customer Reviews
Most Helpful Customer Reviews
38 of 39 people found the following review helpful
Format:Audio CD
After Andsnes' superb Grieg Concerto, also with the BPO (under Jansons rather than Pappano) I was anxious to hear this new recording, and was glad I did - it's excellent.
This CD comes into competition with Krystian Zimerman's recording of the same two concertos with Ozawa, released by DG last year. That version of the First was also extremely fine, but with a rather different interpretation. Zimerman's was fiery and intense (he explained in interviews at the time that these were youthful works and needed to explode - `you don't play the Rachmaninov concertos, you live them', I seem to recall). His playing was high voltage throughout whereas Andsnes, with no lack of fire, takes a more patrician approach which give just as fine rewards. Pappano gives superb support as well, this is very much a successful symbiosis, with the BPO playing like the great orchestra we know they are. This ranks alongside the greatest Firsts: the composer himself, Janis and Pletnev as well as Zimerman.
Also the DG recording was sharp-edged and intense, whereas this EMI disc is slightly mellower with the piano and orchestra wonderfully blended. I do prefer the piano sound here as well: it's rich and sounds beautiful, but is ideally focused as well. Some found the Zimerman `sound', coupled with his high octane pianism (electrifying though it is) tiring on the ear after a while.
Zimerman has often said that recording the sound of his playing is problematic; he hasn't made a solo recording for 10 years for this exact reason - which is perhaps one reason why sonic deficiencies all but wrecked his version of the Second, where the solo instrument is much too closely observed, giving a clattery feel to the performance, with every note audible.
No such problems here: recorded live in the Berlin Philharmonie, Andsnes' version of the Second is very enjoyable, full of wonderful touches from soloist, conductor and orchestra: the exciting climax and coda of the first movement are finely handled, while in the slow movement, slightly more flowing than normal, the collaboration between Andsnes and orchestral soloists (particularly the flute, presumably BPO Principal Emanuel Pahud, given fine presence) is gorgeous.
In the Finale's lovely second subject Pappano manages to impart some idiomatic Slavonic melancholy, if not quite as much as Ashkenazy when conducting for Helene Grimaud in her excellent version, which alongside this new Andsnes version is my favourite in digital sound. Also hear the brooding lower strings in the build up to the finale's climax which, as with Andsnes' Grieg, is played at full throttle but strictly `a tempo', with no playing to the gallery. Even so, they don't surpass Grimaud and Ashkenazy in sweep and power here. There is about 15 seconds of applause, not separately tracked.
If you've got Richter's classic account on DG, Grimaud on Teldec, and Andsnes in the Second, I think you've got all bases covered.
This CD comes into competition with Krystian Zimerman's recording of the same two concertos with Ozawa, released by DG last year. That version of the First was also extremely fine, but with a rather different interpretation. Zimerman's was fiery and intense (he explained in interviews at the time that these were youthful works and needed to explode - `you don't play the Rachmaninov concertos, you live them', I seem to recall). His playing was high voltage throughout whereas Andsnes, with no lack of fire, takes a more patrician approach which give just as fine rewards. Pappano gives superb support as well, this is very much a successful symbiosis, with the BPO playing like the great orchestra we know they are. This ranks alongside the greatest Firsts: the composer himself, Janis and Pletnev as well as Zimerman.
Also the DG recording was sharp-edged and intense, whereas this EMI disc is slightly mellower with the piano and orchestra wonderfully blended. I do prefer the piano sound here as well: it's rich and sounds beautiful, but is ideally focused as well. Some found the Zimerman `sound', coupled with his high octane pianism (electrifying though it is) tiring on the ear after a while.
Zimerman has often said that recording the sound of his playing is problematic; he hasn't made a solo recording for 10 years for this exact reason - which is perhaps one reason why sonic deficiencies all but wrecked his version of the Second, where the solo instrument is much too closely observed, giving a clattery feel to the performance, with every note audible.
No such problems here: recorded live in the Berlin Philharmonie, Andsnes' version of the Second is very enjoyable, full of wonderful touches from soloist, conductor and orchestra: the exciting climax and coda of the first movement are finely handled, while in the slow movement, slightly more flowing than normal, the collaboration between Andsnes and orchestral soloists (particularly the flute, presumably BPO Principal Emanuel Pahud, given fine presence) is gorgeous.
In the Finale's lovely second subject Pappano manages to impart some idiomatic Slavonic melancholy, if not quite as much as Ashkenazy when conducting for Helene Grimaud in her excellent version, which alongside this new Andsnes version is my favourite in digital sound. Also hear the brooding lower strings in the build up to the finale's climax which, as with Andsnes' Grieg, is played at full throttle but strictly `a tempo', with no playing to the gallery. Even so, they don't surpass Grimaud and Ashkenazy in sweep and power here. There is about 15 seconds of applause, not separately tracked.
If you've got Richter's classic account on DG, Grimaud on Teldec, and Andsnes in the Second, I think you've got all bases covered.
3 of 3 people found the following review helpful
Format:Audio CD
This for me is the best recording since Richter and thrills me every time I hear it. It comes from a live concert and I'm sure this contributes to the electric atmosphere. Need I say more? At this price it is a bargain.
7 of 8 people found the following review helpful
Format:Audio CD
A musician could give us the best album the world has ever seen, and there would still be those who would attempt to tear it down. This explains the negative reviews of this CD. Leif Ove Andsnes and the Berlin Philharmonic are in top form here - this is not a disappointing recording as some reviewers erroneously state.
The Rachmaninov First Concerto has a youthful quality to it while still sounding surprisingly mature. Written when Rachmaninov was still in his teens, it already contains the passion and melancholy that is so characteristic of Rachmaninov. We hear intimate playing coming from both Andsnes and Berlin throughout. The music sounds fresh from the pen. Instead of focusing on the outward qualities, Andsnes and Berlin go straight to the heart. The finale is especially satisfying here. The roof-raising theme is interpreted in a way that will have you sitting on the edge of your seat.
The Second Concerto is, of course, much more familiar, and rightly so. Some reviewers will want to tell you that Andsnes and Berlin disappoint here. Don't be having any of it. Here Andsnes and Berlin pull out almost all of the potential music. Rather than resorting to hysteria, Andsnes and Berlin give us inward music that brings tears to the eyes. Andsnes' playing is flawless technically, which enables him to pull out wonderful detail. And Berlin accompanies him marvelously, engaging in wonderful chamber-type conversation with him. In the opening movement, we hear a strong contrast between the poetic, reflective moments, and the climaxes. The second movement is unbelievably good. I have heard several performances of this unforgettable movement, but never have I heard a performance half this satisfying. Andsnes gently pulls the beauty out of every note. And Pappano leads Berlin in a wonderful accompaniment. The music is made to speak for itself but still speaks in a outstanding way. This is the way it is supposed to be. In the finale, we are instantly put on the edge of our seats. Then we are greeted with a lovely rendition of the second, lyric theme.
I honestly cannot possibly express my strong feelings for this CD. With such a stunning orchestra as Berlin and such a poetic, thoughtful pianist as Andsnes, you could not possibly go wrong. Buy it.
(Copied from my review on Amazon.com)
The Rachmaninov First Concerto has a youthful quality to it while still sounding surprisingly mature. Written when Rachmaninov was still in his teens, it already contains the passion and melancholy that is so characteristic of Rachmaninov. We hear intimate playing coming from both Andsnes and Berlin throughout. The music sounds fresh from the pen. Instead of focusing on the outward qualities, Andsnes and Berlin go straight to the heart. The finale is especially satisfying here. The roof-raising theme is interpreted in a way that will have you sitting on the edge of your seat.
The Second Concerto is, of course, much more familiar, and rightly so. Some reviewers will want to tell you that Andsnes and Berlin disappoint here. Don't be having any of it. Here Andsnes and Berlin pull out almost all of the potential music. Rather than resorting to hysteria, Andsnes and Berlin give us inward music that brings tears to the eyes. Andsnes' playing is flawless technically, which enables him to pull out wonderful detail. And Berlin accompanies him marvelously, engaging in wonderful chamber-type conversation with him. In the opening movement, we hear a strong contrast between the poetic, reflective moments, and the climaxes. The second movement is unbelievably good. I have heard several performances of this unforgettable movement, but never have I heard a performance half this satisfying. Andsnes gently pulls the beauty out of every note. And Pappano leads Berlin in a wonderful accompaniment. The music is made to speak for itself but still speaks in a outstanding way. This is the way it is supposed to be. In the finale, we are instantly put on the edge of our seats. Then we are greeted with a lovely rendition of the second, lyric theme.
I honestly cannot possibly express my strong feelings for this CD. With such a stunning orchestra as Berlin and such a poetic, thoughtful pianist as Andsnes, you could not possibly go wrong. Buy it.
(Copied from my review on Amazon.com)
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