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Rachmaninov's formidable piano technique was notable for its precision, rhythmic drive, refined legato, crystalline clarity and sensitivity to melodic line. While avoiding sentimentality, he sought and expressed music's emotional essence. Though fleet fingered, he had, in Arthur Rubinstein's words, ''the secret of the golden, living tone which comes from the heart'', awing listeners with the aristocratic quality of his playing. This is particularly evident in his interpretations of Chopin, Schumann and Liszt, whose great Romantic spirit matched his own. Even today, his recordings remain classics.
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The 1929 Recording of Carnaval is Here!
30 Jan 2012
Format:Audio CD|Amazon Verified Purchase
One of Rachmaninoff's greatest achievements is his performance of Schumann's Carnaval, recorded in 1929 (when the artist was 48 years old, near the peak of his skills at the piano), and now remastered with results as good as one might hope for. There is no way to listen to this performance without a strong emotional response; Rachmaninoff is brilliant. I purchased the CD for this performance alone, although it also contains a number of additional works recorded in 1929 and the 1930s. The performance of Carnaval is not listed in Tom Moon's "1,000 Recordings to Hear Before You Die," and this is one of my [only] two complaints about Moon's book. (The other omission is Rachmaninoff's performance of Bach's Preludio, Gavotte, and Gigue from Violin Partita No. 3 in E (BWV 1006), which can be found on CD Disk 7 of the RCA issue of Sergei Rachmaninoff's Complete Recordings. The Bach partita was transcribed for piano by Rachmaninoff as well and that performance was recorded in 1942.)
I first heard Carnaval as it was being practiced for an upcoming recital by John Tobin. The music emerged from an open window of the school of music on the Tulane-Newcomb campus in 1956. I halted, sat on the grass, and was unable to move until the music reached its end.
I first heard Carnaval as it was being practiced for an upcoming recital by John Tobin. The music emerged from an open window of the school of music on the Tulane-Newcomb campus in 1956. I halted, sat on the grass, and was unable to move until the music reached its end.
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