Sergey Vassilievich Rachmaninov


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Rachmaninov: Symphony No. 2

Rachmaninov: Symphony No. 2


Symphony No. 2 in E minor, Op. 27

Vocalise, Op. 34 No. 14 - arrangement for orchestra

Aleko - Intermezzo & Women's Dance

Presto Greatest Recordings


Building a Library

First Choice - February 2012

Building a Library

First Choice - June 2012

Up to 40% off Warner Classics

Warner Classics Masters - 0852892


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Vladimir Horowitz plays Great Sonatas

Vladimir Horowitz plays Great Sonatas


Piano Sonata, Op. 26


Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight'

Piano Sonata No. 21 in C major, Op. 53 'Waldstein'

Piano Sonata No. 23 in F minor, Op. 57 'Appassionata'

Piano Sonata No. 8 in C minor, Op. 13 'Pathetique'

Piano Sonata No. 7 in D major, Op. 10 No. 3

Piano Sonata No. 28 in A major, Op. 101


Piano Sonata No. 2 in B flat minor, Op. 35 'Marche funèbre'


Sonata in C Major, Op. 33 No. 3

Sonata in B flat Major, Op. 25 No. 3

II Rondo. Vivace

Sonata in A major Op. 50 No. 1

II Adagio sostenuto e patetico

Sonata in E flat Major, Op. 12 No. 2

III Rondo. Allegro assai


Piano Sonata No. 59 in E flat major, Hob.XVI:49

Piano Sonata No. 38 in F major, Hob.XVI:23

Piano Sonata No. 58 in C major, Hob.XVI:48


Piano Sonata No. 3 in F major, Op. 46


Piano Sonata in B minor, S178


Piano Sonata No. 11 in A major, K331 'Alla Turca'

Piano Sonata No. 12 in F major, K332


Piano Sonata No. 7 in B flat major, Op. 83


Piano Sonata No. 2 in B flat minor, Op. 36

Scarlatti, D:

Keyboard Sonata K33 in D Major

Keyboard Sonata K54 in A minor

Keyboard Sonata K525 in F major

Keyboard Sonata K466 in F minor

Keyboard Sonata K146 in G major

Keyboard Sonata K96 in D major

Keyboard Sonata K162 in E major

Keyboard Sonata K474 in E flat major

Keyboard Sonata K198 in E minor

Keyboard Sonata K491 in D major

Keyboard Sonata K481 in F minor

Keyboard Sonata K39 in A major

Keyboard Sonata K547 in G major

Keyboard Sonata K197 in B minor

Keyboard Sonata K25 in F sharp minor

Keyboard Sonata K52 in D minor

Keyboard Sonata K201 in G major

Keyboard Sonata K303 in C minor

Keyboard Sonata K319 in F sharp major

Keyboard Sonata K260 in G major

Keyboard Sonata K380 in E major

Keyboard Sonata K55 in G major

Keyboard Sonata K531 in E major

Keyboard Sonata K322 in A major

Keyboard Sonata K455 in G major

Keyboard Sonata K127 in A flat major

Keyboard Sonata K101 in A major

Keyboard Sonata K184 in F minor

Keyboard Sonata K87 in B minor

Keyboard Sonata K135 in E major

Keyboard Sonata K46 in E major

Keyboard Sonata K20 in E major


Piano Sonata No. 21 in B flat major, D960


Piano Sonata No. 3 in F minor, Op. 14 'Concerto Without Orchestra'


Piano Sonata No. 5 in F sharp major, Op. 53

Piano Sonata No. 9, Op. 68 'Black Mass'

Piano Sonata No. 10, Op. 70

Piano Sonata No. 3 in F sharp minor, Op. 23

Sony Classical Masters - 88697884092

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The Art of Oda Slobodskaya

The Art of Oda Slobodskaya

The Decca & Rymington van Wyck recordings


Hebrew Melody (Yevreyskaya Melodiya) 1859 (Lermontov/Byron)


In the Forest by the Front Line



From my tears sprang flowers

Morskaya tsaryevna (The Princess Of the Sea)


The Fountain Statue at Tsarskoye Selo, Op. 57 No. 17


Lullaby, Op. 108

The Dreary Steppe

Like an angel

My country


Nursery Rhymes (7)


Dunyushka, Op. 104


Lilacs, Op. 21 No. 5

How fair this spot, Op. 21 No. 7

To my children, Op.26, No. 7

Small island, Op. 14 No. 2

The Soldier’s Wife, Op. 8, No. 4

Rimsky Korsakov:

Three Folksongs

arr. Ippolitov-Ivanov


Six Spanish Songs Op. 100


Stories for Children (3)




My Heart is Beating

In the Silence of the Night


Was I not a blade of grass?, Op. 47 No. 7

Zabït tak skoro (So soon forgotten)

If only I had known, Op.47, No.1

Na nivi zhyoltiye (On the golden cornfields), Op. 57 No.2

Puskay pogibnu ya 'Tatiana's Letter Scene' (from Eugene Onegin)

London Symphony Orchestra, Anatole Fistoulari

Child’s Song


I would have kissed you

Oda Slobodskaya (soprano) & Ivor Newton (piano)

Born in 1888, the Russian soprano Oda Slobodskaya won a scholarship for secondary education but, having completed her schooling, to her displeasure, found herself working with her parents in a second hand clothes shop. Despite having no formal musical training, she travelled, at the age of eighteen, from her hometown of Vilno (then part of the Russian Empire) some 300 miles to St. Petersburg, to audition. She was successful. During the Russian revolution she was ordered to join other singers on obligatory tours to factories and farms to entertain the workers. At the invitation of Diaghilev she starred in the premiere of Stravinsky’s opera Mavra. The impresario Rabinoff organised for her to tour America as star soloist with The Ukranian Chorus and while there she made a successful solo debut at Carnegie Hall in New York. But, as a displaced Russian living abroad when appreciation of the Russian repertoire was minimal, Slobodskaya had difficulty finding a good manager. It was at this point that her career took a most unexpected turn. She was persuaded that as a stop-gap measure to earn some much-needed cash she might utilise her talents in the Variety Theatre rather than the opera house, and so under the assumed name of Odali Careno she made her variety debut in Baltimore in 1928. Dressed in a stunning eau-de-nile gown, she was a sensation, singing a mixture of familiar opera arias, ballads and popular songs.

Slobodskaya’s recordings are few and far between. A handful of Medtner songs with the composer at the piano were recorded early in the 20th century for HMV. In 1938 she recorded eight sides of Russian songs for a limited edition set of four 78s issued by the Rimington van Wyck record shop in Leicester Square. Slobodskaya had been heard on the radio by Mr. Frederick T. Smith, owner of RvW, and he was so overwhelmed by her voice that he paid for the records to be recorded by Decca. They were issued in May 1942 in a limited edition of 2000 in an attractive brown and gold album. Decca recorded her again in 1945 and 1946, and then in 1961.

The recordings are of cult status, much sought after by collectors of great vocal treasures, and this is their first issue on Decca CD. Andrew Dalton has compiled the collection and provided the liner notes, and the booklet is illustrated with all the album jackets as well as illustrations from program booklets, making this a real collector’s item.

This release marks the launch of an Eloquence series of notable recitals of songs and opera arias by some of the great voices of Decca and Deutsche Grammophon.

Australian Eloquence Vocal Recitals - ELQ4803524

(CD - 2 discs)


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Rachmaninov: Piano Music

Rachmaninov: Piano Music


Piano Sonata No. 2 in B flat minor, Op. 36

Variations on a theme of Corelli, Op. 42

Moments Musicaux, Op. 16

John Lill (piano)

Critically acclaimed performances, given by one of the UK’s most highly regarded pianists.

‘Lill at his finest’ Classical CD of Piano Sonata No. 2

“a hotline to Rachmaninov's dark poetry. The Variations and Moments Musicaux are vividly characterised, the Sonata majestic.” BBC Music Magazine, February 2012 ****

Regis - RRC1331



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Rachmaninov: Piano Concertos Nos. 1 & 4 and Rhapsody on a Theme of Paganini

Rachmaninov: Piano Concertos Nos. 1 & 4 and Rhapsody on a Theme of Paganini


Piano Concerto No. 1 in F sharp minor, Op. 1

Piano Concerto No. 4 in G minor, Op. 40

Rhapsody on a Theme of Paganini, Op. 43

Simon Trpčeski’s recording of Rachmaninov’s Piano Concertos Nos. 2 and 3 was one of the most acclaimed and best-selling classical releases of 2010. His frequent collaborations with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra are justly celebrated. Together they complete the Rachmaninov canon with this highly-anticipated follow up of Concertos Nos. 1 and 4, and the Paganini Rhapsody.

Rachmaninov Concertos 2 and 3 made the Top 10 of Billboard’s Classical Chart and won a Diapason d’or de l’année. Simon Trpčeski will support the sequel with extensive touring and CD signings at which he regularly attracts hundreds of fans.

“Simon Trpčeski, Vasily Petrenko and the RLPO bring understanding and instinct to their performances, and take to heart the different temperaments that each of the three works on this recording manifests...the judicious variety of touch and colour, and ability to reveal important details of the music, combine with an expressive maturity to make these performances utterly compelling.” The Telegraph, 16th June 2011 *****

“The virtuosi Macedonian Simon Trpčeski and St Petersburg-born Vasily Petrenko combine in taut, poetic performances with notably coruscating brass playing from an RLPO on impressive and expressive form.” The Observer, 26th June 2011

“Trpčeski captures the music’s protean mood switches to perfection, his mercurial fingers dashing off the vivace flourishes of the outer movements and the most brilliant Paganini variations with insouciant bravura and brio...These performances are a meeting of dazzling musical minds, offering an untraditional approach that never sounds wilful, attention-seeking or eccentric.” Sunday Times, 3rd July 2011 *****

“Trpčeski relishes Rachmaninov, thrilling his audience with virtuosic passages which easily demonstrate why these pieces in particular were important vehicles for Rachmaninov the exiled pianist. Petrenko maintains timing and tension, whilst never allowing lush lyricism to become stodgy or overwhelming...this is a musical combination which works superbly.” Classic FM Magazine, August 2011 *****

“[Nos 1 & 4] have never been such sure-fire crowd-pleasers, but Trpčeski certainly plays them with fire and passion. No. 1 emerges as big-boned and compelling, while he plays up the leanly modernist aspects of No. 4...Trpčeski is aided throughout by the unanimity of feeling produced by Vassily Petrenko's direction of the orchestra, conductor and pianist working hand in glove.” BBC Music Magazine, August 2011 ****

“Expectations are fully realised in performances of the highest order...Trpčeski was put on this earth to play this music and Petrenko to conduct it...This is a riveting disc, another major landmark for Trpčeski and one on which Rachmaninov finds interpreters thoroughly attuned to his emotional world.” Gramophone Magazine, September 2011

GGramophone Magazine

Editor's Choice - September 2011

Avie - AV2191



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Glyndebourne: Comedy & Tragedy

Glyndebourne: Comedy & Tragedy



Anne Sofie von Otter (Carmen), Marcus Haddock (Don José), Laurent Naouri (Escamillo), Lisa Milne (Micaela)

with The Glyndebourne Chorus, Philippe Jordan (conductor) & David McVicar (director)


L'elisir d'amore

Ekaterina Siurina (Adina), Peter Auty (Nemorino), Alfredo Daza (Belcore), Luciano di Pasquale (Dulcamara), Eliana Pretorian (Giannetta)

with The Glyndebourne Chorus, Maurizio Benini (conductor) & Annabel Arden (director)


Gianni Schicchi

Alessandro Corbelli (Schicchi), Massimo Giordano (Rinuccio), Sally Matthews (Lauretta), Felicity Palmer (Zita), Marie McLaughlin (La Ciesca)

Vladimir Jurowski (conductor) & Annabel Arden (director)


The Miserly Knight, Op. 24

Sergei Leiferkus (The Baron), Richard Berkeley-Steele (Albert), Viacheslav Voynarovskiy (Moneylender), Albert Schagidullin (The Duke), Maxim Mikhailov (The Servant), Matilda Leyser ("Aerialist")

Vladimir Jurowski (conductor) & Annabel Arden (director)



Christopher Purves (Falstaff), Tassis Christoyannis (Ford), Marie-Nicole Lemieux (Mistress Quickly), Dina Kuznetsova (Alice Ford), Jennifer Holloway (Meg Page), Adriana Kucerova (Nanetta), Bulent Bezduz (Fenton), Peter Hall (Dr Caius), Alasdair Elliott (Bardolpho), Paolo Battaglia (Pistol)

with The Glyndebourne Chorus, Vladimir Jurowski (conductor) & Richard Jones (director)

The Glyndebourne Festival is a quintessentially English summer event. The world’s most acclaimed artists, conductors and directors excel in producing top-flight performances every year and this new collection offers the choice of five classic opera productions including Gianni Schicchi, L'elisir d'amore, Falstaff, Carmen and The Miserly Knight.

‘In the pit, Vladimir Jurowski and the London Philharmonic hone their reflexes so that the instrumental guffaw, exclamation, explosive flourish leaps out at you. It’s exciting and detailed and rhythmically so alive.’ The Independent


Gianni Schicchi EN/FR/DE/ES/IT

L'elisir d'amore EN/FR/DE/ES/IT

Falstaff EN/FR/DE/ES/IT

Carmen EN/FR/DE/ES

The Miserly Knight EN/FR/DE/ES/IT

Region Code All regions

Picture format 16:9 Anamorphic

Sound format 2.0LPCM + 5.1(5.0) DTS

Menu languages EN

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Opus Arte Glyndebourne - OA1059BD

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From Russia with Music

From Russia with Music


Symphonic Dances, Op. 45

Three Russian Songs, Op. 41

Chor der V.S. Popov Academy of Choral Arts

Rimsky Korsakov:

The Tale of Tsar Saltan: March


Romeo & Juliet - Fantasy Overture

RCA - 88697859402



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Rachmaninov: Piano Concertos Nos. 3 & 4

Rachmaninov: Piano Concertos Nos. 3 & 4


Piano Concerto No. 3 in D minor, Op. 30

Vladimir Ashkenazy (piano)

Piano Concerto No. 4 in G minor, Op. 40

Philippe Entremont (piano)

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Rachmaninov: Piano Concerto No. 2 & Rhapsody on a Theme of Paganini

Rachmaninov: Piano Concerto No. 2 & Rhapsody on a Theme of Paganini


Rhapsody on a Theme of Paganini, Op. 43

Piano Concerto No. 2 in C minor, Op. 18

Wang, Gramophone’s “Young Artist of the Year” in 2009 joins the legendary maestro, Claudio Abbado on her first orchestral album and the Mahler Chamber Orchestra.

To the challenging Rachmaninov Piano Concerto no. 2, she adds the daunting Rhapsody on a Theme of Paganini.

“Whereas many pianists try to dominate this set of variations, she worked with it. This approach simply gave more punch to the places in which the piano should jump out of the texture” (Pittsburgh Post-Gazette).

“She tackles the popular "Concerto for Piano and Orchestra No 2" with an ease that betrays her deep familiarity with the material; but it's the confident way she deals with the challenging "Rhapsody on a Theme of Paganini"...that most impresses here...It's all hand-led with industrious grace by Wang.” The Independent, 11th March 2011

“lots of filigree play and brilliantly clear articulation” The Times, 2nd April 2011 ***

“The partnership of Yuja Wang and Claudio Abbado produces thoughtful and often imaginative Rachmaninov on this new disc. These performances may be as flamboyant or as theatrical as some, but there are impressive moments, and there's a fluency and lack of the mannerism inthe playing that is certainly attractive.” International Record Review, April 2011

“She makes us hear this hoariest of Romantic war-horses afresh, as if with cleaned ears: the work emerges as almost classical, Mozartian even, in its poise and architecture. There isn't an iota of indulgence of gratuitious emotion, yet neither is there any lack of force or genuine passion wherever required.” BBC Music Magazine, May 2011 *****

“This petite 24-year-old turns out to be a powerhouse! Undaunted by the challenges of this repertoire, her articulate and precise style brings a freshness and wit to these pieces without compromising the emotional breadth of Rachmaninov's music. Her intelligent crafting of the variations turns the Rhapsody into a bonus concerto, but it's her superb skill and artistry which shines through.” Classic FM Magazine, June 2011 ****

GGramophone Awards 2011

Shortlisted - Concerto

DG - 4779308



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Echoes of Time

Echoes of Time


V & V for violin and taped voice with string orchestra


Spiegel im Spiegel

with Hélène Grimaud (piano)


Vocalise, Op. 34 No. 14

with Hélène Grimaud (piano)


Violin Concerto No. 1 in A minor, Op. 99

Ballet Suite No. 3: Lyric Waltz (from Dances of the Dolls)

Lisa Batiashvili’s debut album for DG, ‘Echoes of Time’, is a matter of the heart - Lisa focuses her program on composers whose lives and work have been heavily influenced by the political happenings in former Soviet Union. Inspired by personal experience, Lisa, herself, went into German exile with her family during the political upheaval in Georgia in 1991.

The program spans the whole of the 20th century, classics by Shostakovich ‘Waltz from the Doll’s Dances’ and Rachmaninov’s ever popular ‘Vocalise’, are combined with Georgian composer, Giya Kancheli’s ‘V and V’, and Estonian, Arvo Pärt’s ‘Spiegel im Spiegel’. ‘Spiegel im Spiegel’ was written shortly before the composer went into exile.

For Pärt’s ‘Spiegel im Spiegel’ and Rachmaninov’s ‘Vocalise’ Lisa teams up with one of our DG’s most distinctive pianists, Hélène Grimaud. Esa-Pekka Salonen conducts the Symphonie orchester des bayerischen.

“[the Shostakovich] receives a deeply considered interpretation, its emotional narrative vividly etched by both soloist and conductor...Batiashvili begins the Cadenza in deep contemplation but quickly ratchets up the tension driving us irresistably towards the 'Burlesque', dispatched here with venom and rhythmic drive.” BBC Music Magazine, April 2011 *****

“few if any [recordings of the Shostakovich] are finer than this one...Batiashvili's reflective, almost weightless approach in the opening rendered more distinctive by the resonant acoustic of the empty Herkulessaal...the passacaglia is exceptionally poised and the cadenza more sheerly musical than usual. The finale whizzes to its end without undue triumphalism.” Gramophone Magazine, March 2011

“It's a marvellous performance [of the Shostakovich], suitably crepuscular in the opening "Nocturne", before a Gypsy flamboyance takes over for "Scherzo". Salonen proves the perfect accomplice in realising the album's theme of works reflective of the Soviet era, the programme including pieces by Soviet emigrés Arvo Pärt and Giya Kancheli” The Independent, 11th February 2011 ****

“[Shostakovich's] No. 1, Op 77 is the chief work, played with majesty and poetry on this soulful, mixed repertoire recital disc...This DG debut disc confirms Batiashvili as a powerful musical voice with an exciting future.” The Observer, 20th February 2011

“Batiashvili is matched in emotional intensity by the Bavarian orchestra and Salonen, as she is in the inspirational way that Shostakovich’s palette of colours is so purposefully deployed.” The Telegraph, 11th March 2011 *****

“I will risk accusations of heresy by saying that this new recording of the Shostakovich Concerto make a btter case for the work than its premiere recording...Batiashvili's playing strikes me as more personal than Oistrakh's, and she seems more willing to dive into its bleakness, its black humour and its frayed nerves. She plays like a protagonist. At the same time, Batiashvili conveys these emotional states without sacrificing an iota of her gorgeous tone.” International Record Review, April 2011

Presto Disc of the Week

21st February 2011

GGramophone Magazine

Disc of the Month - March 2011

DG - 4779299



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