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A Tribute to Rachmaninoff

Vladimir Feltsman (piano) , Russian National Symphony Orchestra , Mikhail Pletnev (conductor) , Sergei Rachmaninoff , Mikhail Pletnev Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
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Product details

  • Performer: Vladimir Feltsman (piano), Mikhail Pletnev (conductor)
  • Orchestra: Russian National Symphony Orchestra
  • Conductor: Mikhail Pletnev
  • Composer: Sergei Rachmaninoff
  • Audio CD (1 April 2011)
  • Number of Discs: 1
  • Label: Nimbus Alliance
  • ASIN: B004V7V4HG
  • Other Editions: MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 365,618 in Music (See Top 100 in Music)

1. Sergei Rachmaninoff, Elegy Op. 3 No.1 - Vladimir Feltsman
2. Sergei Rachmaninoff, Six Preludes - Vladimir Feltsman
3. Sergei Rachmaninoff, Piano Concerto no.3 in D minor Op.30 - Vladimir Feltsman

Product Description

CD Description

This live recording of Rachmaninoff Piano Concerto no.3 was made on November 13, 1992 at the Bolshoi Hall of Moscow Conservatory during a concert to honour the memory of Jacob Flier (1912-1977) with whom Pletnev and I both studied. Flier was one of the greatest teachers in Moscow Conservatory who brought up several generations of prominent pianists. It was a very special and emotional occasion for Pletnev and myself and we did our best to pay a worthy tribute to our teacher. Vladimir Feltsman

About the Artist

Pianist and conductor Vladimir Feltsman is one of the most versatile and constantly interesting musicians of our time. His vast repertoire encompasses music from the Baroque to 20th-century composers. A regular guest soloist with leading symphony orchestras in the United States and abroad, he appears in the most prestigious concert series and music festivals all over the world.

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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
By Ralph Moore TOP 50 REVIEWER
Format:Audio CD
A master in Rachmaninoff (as I suppose I must call Rachmaninov, according to this recording), Vladimir Feltsman here gives us a very balanced and agreeable programme comprising of a live performance in Moscow and a recent studio recording session for Nimbus, separated by eighteen years. There is no musical reason why two such disparate sources should not be linked on one disc and Feltsman must have consented to the photo montage on the cover which depicts him both as he is now - in black and white as a venerable gentleman at the end of his sixth decade and as he was in colour when he recorded the concerto with a great deal more hair - but it is a sobering reminder of the effects of time. However, time has by no means dimmed his artistry and both performances are testament to his reputation as a superlative interpreter of Rachmaninoff.

The main drawback to this disc lies in the juxtaposition of the warm, detailed studio ambience with the distant, papery acoustic of the live recorded sound from 1992, complete with percussive sneezes and coughs. This is a pity, as artistically, I think Feltsman and Pletnev can stand comparison with any competitive recording. Having said that, many of those front-runners, such as Horowitz with Reiner and Byron Janis on Mercury, are also either disadvantaged by tape hiss or, as with Van Cliburn for RCA/Sony, in rather dull analogue sound. For some, the only interpretative equals in better sound than Feltsman might be Volodos or Kissin but I certainly still value the passion and sweep of the partnership of Feltsman and Pletnev here above virtually any other version.

Feltsman's virtuosity and complete immersion in the idiom are things of wonder; it must have helped that he had an equally passionate and virtuosic pianist in Pletnev as his conductor.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  1 review
3 of 3 people found the following review helpful
5.0 out of 5 stars Astonishing virtuosity despite slightly compromised sound in the concerto 11 Aug 2011
By Ralph Moore - Published on Amazon.com
Format:Audio CD
A master in Rachmaninoff (as I suppose I must call Rachmaninov, according to this recording), Vladimir Feltsman here gives us a very balanced and agreeable programme comprising of a live performance in Moscow and a recent studio recording session for Nimbus, separated by eighteen years. There is no musical reason why two such disparate sources should not be linked on one disc and Feltsman must have consented to the photo montage on the cover which depicts him both as he is now - in black and white as a venerable gentleman at the end of his sixth decade and as he was in colour when he recorded the concerto with a great deal more hair - but it is a sobering reminder of the effects of time. However, time has by no means dimmed his artistry and both performances are testament to his reputation as a superlative interpreter of Rachmaninoff.

The main drawback to this disc lies in the juxtaposition of the warm, detailed studio ambience with the distant, papery acoustic of the live recorded sound from 1992, complete with percussive sneezes and coughs. This is a pity, as artistically, I think Feltsman and Pletnev can stand comparison with any competitive recording. Having said that, many of those front-runners, such as Horowitz with Reiner and Byron Janis on Mercury, are also either disadvantaged by tape hiss or, as with Van Cliburn for RCA/Sony, in rather dull analogue sound. For some, the only interpretative equals in better sound than Feltsman might be Volodos or Kissin but I certainly still value the passion and sweep of the partnership of Feltsman and Pletnev here above virtually any other version.

Feltsman's virtuosity and complete immersion in the idiom are things of wonder; it must have helped that he had an equally passionate and virtuosic pianist in Pletnev as his conductor. This is a grand, storming performance in which technical difficulties are not even a consideration for the soloist. The electricity of the live occasion excuses the audience noise and some congestion at peak volume. The Finale builds and builds to a truly thrilling climax and the audience response is ecstatic.

In addition, the dreamy beauty of Feltsman's playing of the Elegy and the six Preludes in themselves constitute some of the most gloriously sentimental and impassioned pianism I have heard for a good while. The Elegy is a stirring outpouring by a composer not yet twenty, infusing the melancholy delicacy of Chopin with the tragic grandeur of the Russian soul. The Preludes are equally remarkable for their variety and for the sensitivity and technical bravura of Feltsman's treatment of them.

In short, a collector's disc for whose sonic deficiencies in the concerto it is very easy to make allowances.
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