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35 of 35 people found the following review helpful:
5.0 out of 5 stars
Superb new Rachmaninov concertos !, 2 Nov 2004
Stephen Hough and Andrew Litton have borrowed from the early music exponents and attempted to turn the clock back and give us the orchestral sound and tempi that Rachmaninov would have expected. This approach works exceedingly well on several levels. Firstly, Hough's fleet tempi really do remove layers of performing practise which have infused an over-emotional, weepy sentimentality into the concertos. Secondly there orchestral contribution is a true partnership, the Dallas orchestra sounding glorious under the distinguished baton of Andrew Litton. Thirdly Hough's pianism is glittering, dashing and staggeringly assured. If sometimes he eschews what you might call a serious melancholy he makes up for it in propulsive, surging tempi. There's always a sense of forward momentum, lingering or pensive these performances certainly are not!These are live recordings: you can feel the electricity, the spontaneity. Applause is not edited out and the ovations add to the experience. The overal impression is one of great freshness, every concerto sounds newly minted. Soloist and conductor are in accord and where necessary Hough steps out of the limelight to let the orchestal texures come though. When the Dallas strings get going though, you're left in no doubt as to the quality of this orchestra! The recording is typically rich and rounded in true Hyperion style. This set has already caused quite a furore and surely will set standands (and hopefully reset performing traditions) in years to come.
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27 of 28 people found the following review helpful:
5.0 out of 5 stars
Exceptional Recording, 12 Aug 2005
After just purchasing these recordings and listening to them I have finally realised these are the performances I have, and many others, undoubtly would of been waiting for. Hough's playing is truly stupendous, his attention to detail and emotional content in his playing have stunned me. I have other recordings from great pianists but I have not heard anything as good as this in my life. There is simlpy too many positive aspects about the cd on the whole to comment on here.The highlight of the whole cd is his interpretation of the second concerto for piano and orchestra. The first movement with its surprisingly faster tempo for the opening chords is a refreshing and welcome offering. The solo piano passages are so well played you can go back to listening to them many times and hear something new, the third movement is played by the orchestra and piano with such beauty and shape its hard to imagine these performances can be surpassed. The third is handled superbly and shows Hough's technical capabilites, since it is a treacherous piece to play well, the final movement consists of the 'big tune' at the end where most performances play it with a heavy romantic attachment and perhaps overlong, however I feel hough's more vivacous and sudden climax works much better and its far more intense and how the composer intended. And thats what the cd has gained praise for, the playing and interpretation of how Rachmaninov intended in his score. I would give this cd more stars if I could, because I cannot reccommend it enough to anyone thinking about buying this ground breaking set of performances. Perhaps the finest cd I have bought in my life.
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21 of 22 people found the following review helpful:
5.0 out of 5 stars
A Fresh Breeze, 22 Dec 2004
In the course of digesting this set I have dragged out all my Rachmaninov concerto recordings and was amazed at how many I have. I primarily was comparing his performance of the Third with those of about ten others, including Horowitz/Reiner, Rachmaninov/Ormandy, Rodriguez/Tabakov, Argerich/Chailly, Ashkenazy/Fistoulari and others. Hough has indeed cleared out some cobwebs. His tempi are quite fast but, particularly considering these are live recordings, these are extremely clean performances. One little bobble in the first movement is not at all alarming. What IS amazing is how cleanly he plays the first movement cadenza with those coruscating figures in the right hand. My goodness! This is not a performance to show off his virtuosity however, although of course he has plenty of that. Rather, it is a deeply musical, intensely pondered traversal. This comment applies not only to the Third, but to all four concerti plus the Rhapsody (which is gorgeously played, it must be said). The opening tempo of the Second has raised some eyebrows, and I will admit I'm not entirely comfortable with it; I guess I prefer a more comfy opening, but it is inarguable that the fast series of chords (and their tolling bell-like bass note echoes) do set up the drama to follow. The sound varies a bit from concerto to concerto. Mostly it's quite good, and quite present. The beginning of the Third is a little recessed and is easily fixed by increasing the volume a little bit. The overall sound places the piano less to the fore than in some studio recordings but one certainly never loses any detail in the piano part because of that. Hough's ability to articulate cleanly in the fastest and softest spots is truly stunning. I love a lot of Rachmaninov recordings, and all for their own reasons. I believe I will love this set, too. And since it has the most modern sound of any I own, that's a real plus. And his piano technician must have been a good one; this piano is beautifully regulated throughout its range. The bass is rich and sonorous without being clangy, the treble is clear and bright without being tinny. The mid-range accomplishes the transition from low to high without any awkwardness. Kudos to the tuner! Litton and the Dallas are able partners. There are subtle (and sometimes not so subtle) tempo variations that clearly have been thought out by Litton and Hough together, and the orchestra responds to cues with split-second timing. Ensemble is admirable; attacks and releases are amazing for a live performance. String tone is particularly lush. I noted with pleasure the bassoonist's playing of his/her melancholy countermelody in the first movement of the Third. Highly recommended.
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~ Camille Saint-Saens
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~ Edvard Grieg
~ Sergey Rachmaninov
~ Antonio Soler
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