Sergey Vassilievich Rachmaninov


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Rachmaninov - Suites for two pianos

Rachmaninov - Suites for two pianos


Shared Secrets, a documentary by F.R.Martin [Mirare] & C.Leconte

Bonus DVD


Suite Nos. 1 & 2 for two pianos


Sleeping Beauty, Op. 66 (excerpts)

arranged Rachmaninov

Rachmaninov's powerful piano writing is given due weight by two matchless interpreters of the Romantic repertoire, Brigitte Engerer and Boris Berezovsky.

With the Mirare Label, Boris Berezovsky has recorded the Rachmaninov Préludes as well as the complete Rachmaninov and Chopin Piano concertos. He also appears on a Medici DVD entitled Change of Plans [2055758, Beethoven & Medtner].

Brigitte Engerer is acclaimed throughout the world for her exceptional artistic maturity and sensibility, and for the strength and delicacy of her playing.

Mirare - MIR070



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Rachmaninov & Shostakovich - Cello Sonatas

Rachmaninov & Shostakovich - Cello Sonatas


Cello Sonata in G minor, Op. 19

Vocalise, Op. 34 No. 14


Cello Sonata in D minor, Op. 40

Robert Irvine (cello) & Graeme McNaught (piano)

An exceptional venture into the chamber repertoire: Robert Irvine, highly acclaimed protagonist of Delphian's recent disc of cello music by Giles Swayne, is now joined by pianist Graeme McNaught in two classic Russian sonatas.

“[In the] Shostakovich Robert Irvine… and his excellent pianist, Graeme McNaught, keep the textures light… It is highly intelligent playing of an emotionally complex work. Rachmaninov's textures are also kept light, even when the keyboard writing is at its most abundant. This is a performance that says more about the heart of the work than when that heart is placed on the performers' sleeves.” Gramophone Magazine, Awards Issue 2008

“Rarely can [Rachmaninov's Cello Sonata] have been recorded in a performance of such potent and poetic intensity, intelligence and clarity as that which the Scottish cellist Robert Irvine and his responsive, vital pianist, Graeme McNaught, give here. Shostakovich’s Cello Sonata is equally well done: poised, subtle and controlled where it needs to be, but appositely pugnacious, brittle and pointed in the scherzo. Rachmaninov’s Vocalise, an apt vehicle for Irvine’s gloriously seductive singing tone, appealingly separates the two works.” Sunday Times, 27th July 2008 ****

Delphian - DCD34034



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Josef Hofmann - Acoustic recordings (1916-1923)

Josef Hofmann - Acoustic recordings (1916-1923)


Waltz No. 2 in A flat major 'Grande Valse Brillante', Op. 34 No. 1

Recorded 13th February, 1918

Waltz No. 7 in C sharp minor, Op. 64 No. 2

Recorded 18th April, 1923

Nocturne No. 5 in F sharp major, Op. 15 No. 2

Recorded 19th April, 1923

Impromptu No. 4 in C sharp minor, Op. 66 'Fantaisie-Impromptu'

Recorded 6th March, 1918

Berceuse in D flat major, Op. 57

Recorded 26th March, 1918

Polonaise No. 3 in A major, Op. 40 No. 1 'Military'

Recorded 10th April, 1923


Meine Freuden (Nocturne)

Chants polonais (after Chopin Op. 74). Recorded 27th April, 1923

Polish Songs S480 No. 1 "Maiden's Wish" (after Chopin)

Recorded 6th March, 1918

Waldesrauschen, S145 No. 1

Recorded 13th March, 1923

Tarantella, S. 162 No. 3 (from Venezia e Napoli)

Recorded 2nd November, 1916

Hungarian Rhapsody, S244 No. 2 in C sharp minor

Recorded in December, 1922


Song without Words, Op. 67 No. 4 in C major 'Spinning Song' or 'Bee's Wedding'

Recorded 13th October, 1916

Rondo capriccioso in E major, Op. 14

Recorded 13th February, 1918

Song without Words, Op. 19b No. 3 in A major 'Hunting Song'

Recorded 14th February, 1918


La Jongleuse, Op. 52 No. 4

Recorded 14th February, 1918

Spanish Caprice

Recorded 16th October, 1916


Minuet in G major, Op. 14 No. 1

Recorded 2nd November, 1916


Prelude Op. 23 No. 5 in G minor

Recorded 20th April, 1923

Prelude Op. 3 No. 2 in C sharp minor

Recorded 20th April, 1923


Erlkönig, D328

arr. Liszt. Recorded 13th October, 1916

Josef Hofmann was one of the greatest pianists of any age. His unique abilities incorporated a technique second to none, and a clarity and pureness of tone that has probably never been heard since his death.

Always in total command of everything he played, Hofmann presented each work with an impression of complete facility of execution.

All works recorded in New York City

“The recessed, wrong-end-of-a-telescope acoustic recordings are still truthful enough to display Hofmann's mesmerisingly fabulous virtuosity in Liszt's Waldesrauchen and Tarantella, and his full, rounded tone.” BBC Music Magazine, October 2008 *****

“Josef Hofmann is among music’s most jealously guarded legends. For his admirers (and they included Anton Rubinstein and Rachmaninov) he could do no wrong, and those fortunate enough to have heard him live during his heyday in America can reminisce by the hour, recalling unforgettable performances of a vast repertoire ranging from Beethoven’s Op. 111 Sonata to the major works of the great romantics.” Gramophone Magazine

Naxos Historical Great Pianists - 8111326



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Gianni Schicchi & The Miserly Knight

Gianni Schicchi & The Miserly Knight


Gianni Schicchi

Alessandro Corbelli (Gianni Schicchi), Sally Matthews (Lauretta), Felicity Palmer (Zita), Massimo Giordano (Rinuccio), Adrian Thompson (Gherardo), Olga Schalaeva (Nella), Christopher Waite (Gherardino), Maxim Mikhailov II (Betto di Signa), Luigi Roni (Simone), Riccardo Novaro (Marco), Marie McLaughlin (Ciesca)


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")

Richard Berkeley-Steele, Maxim Mikhailov, Viacheslav Voynarovskiy, Albert Schagidullin, Sergei Leiferkus & Matilda Leyser

Vladimir Jurowski (conductor) & Annabel Arden (stage director)

Alessandro Corbelli takes the title role in Annabel Arden’s whirlwind production of Puccini’s compact opera, in which the scheming Gianni Schicchi retrieves for himself the spoils of a disinherited family to pave the way for his daughter to marry her love.

Recorded live at Glyndebourne Opera House, Sussex, UK, on 11th July 2004.

Note: This Blu-ray Disc (BD) is not compatible with standard DVD players.


Rachmaninov’s The Miserly Knight – The complete opera, also directed by Annabel Arden and conducted by Vladimir Jurowski, as performed alongside Gianni Schicchi as a double bill at Glyndebourne on 11th July 2004.


LENGTH: 162 Mins

SOUND: 2.0 & 5.1 PCM AUDIO


“Annabel Arden’s dark staging of Rachmaninov’s opera and her brilliantly funny view of Puccini’s comedy make for a perfect Glyndebourne evening. Sergei Leiferkus and Alessandro Corbelli are memorable in the respective title parts and Vladimir Jurowski is the superb conductor.” Sunday Times

“Alessandro Corbelli delivers a masterclass in how to extract every ounce of humour from comedy by playing it straight. He is the king of comedy and an international treasure.” The Stage

Blu-ray Disc

Region: all

Up to 35% off Opus Arte

Opus Arte - OABD7010D


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Alexis Weissenberg

Alexis Weissenberg

Bach, J S:

Chromatic Fantasia & Fugue in D minor, BWV903

Partita No. 6 in E minor, BWV830 (Corrente)


Piano Concerto No. 2 in B flat major, Op. 83

Orchestre National de l’ORTF, Georges Prêtre


Piano Sonata No. 3 in B minor, Op. 58 (Largo)

Nocturne No. 21 in C minor, BI 108

Op. Posth

Étude Op. 25 No. 7 in C sharp minor


Piano Sonata No. 3 in A minor, Op. 28


Prelude Op. 23 No. 6 in E flat major


Nocturne in D flat major Op. 9 No. 2


Three Movements from Petrushka

“Weissenberg has a remarkable talent, as the three Petrushka pieces prove, but he has often misused it, with harsh results. This sampling of his repertoire and his thoughts on it is worth seeing.” BBC Music Magazine, Proms 2008 ****

“If you invested in Marc-André Hamelin's recent CD 'In a State of Jazz' (see page 1328) you will have heard the eponymous Sonata and five Charles Trenet song transcriptions by Alexis Weissenberg. Here is Weissenberg himself seen first in the innovative black–and–white film of Three Movements from Petrushka directed by Åke Falck in 1965 which revived the pianist's flagging career. The print is remarkably crisp and vivid even if, as on the original film, the sound of this high–octane performance is not always in sync. The DVD's bonus features a short interview with the pianist talking about the work.
The rest of the programme has performances that reveal what an uneven player Weissenberg was. His impassive face and economic gestures seem to reflect his disengagement with some of the music (try the Bach–Hess Jesu, Joy of Man'sDesiring and the slow movement – the only part of the work here – of Chopin's B minor Sonata).
On the other hand there's a riveting Prokofiev Third Sonata (complete) and Scriabin Nocturne for the left hand alone. The longest work from the 150 minutes of the disc is Brahms's Second Piano Concerto, a lightweight reading conducted by the amiable Georges Prêtre in 1969.
From the same label comes a 1989 recital from Sviatoslav Richter given in London's Barbican Centre by the light of a 40–watt bulb. Now expressing any criticism of the great man will invite a heap of invective, but when Richter comes on stage conveying the distinct impression that he would rather be anywhere else, it does appear rather graceless. What with that, the anglepoise and reading from the score you wonder if he is in the mood to play Mozart at all.
Thank heavens he is. One can put up with any amount of eccentricity to hear K282, K545 (Sonata facile) and K310 played like this. Close your eyes – that's the best way of enjoying this, especially as the editing is a real distraction.
The three (black–and–white) bonus tracks from 20 years earlier were broadcast in October 1969.
Looking once more as though his cat's just been run over, Richter rampages through Rachmaninov's Etude–Tableau Op 9 No 3 and Chopin's Etudes Op 10 No 4 (ludicriously fast) and No 12.
Then there is the endearing figure of Tatyana Nikolaieva in her signature work, the 24 Preludes and Fugues of Shostakovich. Filmed in December 1992 just 11 months before her death at the age of 69, the setting for the 150 minutes of the cycle appears to be a capacious Victorian drawing room, the instrument illuminated by an old–fashioned standard lamp (what is it about Russians and electricity?). Talking of which, Nikolaieva, looking every inch the archetypal babushka and clad in clothes that might have been worn by Clara Schumann, lights up these works from within. Here are old and intimate friends. It's doubtful whether we'll hear them better played – unsuprisingly, as she was the composer's inspiration for the cycle (she reveals as much in the brief interview that forms the DVD's bonus). Already, this is a valuable historical document.”
Gramophone Classical Music Guide, 2010

“This beautiful, essential disc gathers together footage of the Bulgarianborn, French pianist Alexis Weissenberg from the mid-to- late 1960s, a period that marked his return to the concert platform after nearly a decade's absence. Pride of place goes to his 1965 film of Stravinsky's Three Movements from Petrushka, directed by Ingmar Bergman's assistant, Åke Falck. It's a technical tour de force that turns Weissenberg into a glamorous visionary, fetishises his hands and transforms his piano into a modernist abstraction of planes, lines and lethal-looking hammers. More conventionally filmed, but equally mesmerising, is a 1969 French TV performance of Brahms' Second Piano Concerto, with the ORTF Orchestra conducted by an enraptured-looking Georges Prêtre. Weissenberg's detractors have often taken him to task for his supposed heavy-handedness. The weight of his playing, however, was balanced by great interpretative directness and intensity, and this performance of the Brahms is among the most searching and profound that I know. A number of shorter TV appearances give us fine examples of his astringent Chopin, his deeply sexy Scriabin and his controversial, probing Bach.” The Guardian, Friday 12 December 2008 *****

DVD Video

Region: 0

Format: NTSC

Medici Arts Classic Archive - 3078048

(DVD Video)


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Beethoven, Rachmaninoff & Brahms: Piano Trios

Beethoven, Rachmaninoff & Brahms: Piano Trios


Piano Trio No. 3 in C minor, Op. 1 No. 3


Piano Trio No. 3 in C minor, Op. 101


Trio élégiaque No. 1 in G minor, Op. post.

Dux - DUX0626



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Rachmaninov - Symphony No. 2

Rachmaninov - Symphony No. 2


Symphony No. 2 in E minor, Op. 27

Rimsky Korsakov:

Capriccio espagnol, Op. 34

Rotterdam Philharmonic, Edo de Waart

This Pentatone release comes from the Philips Quadraphonic Recordings archive and features two popular compositions by Russian composers. The 2nd Symphony is the most popular Symphony Rachmaninov composed. The Capricio Espagnol, became an instant success when at the first performance, an enthusiastic audience demanded that the entire piece be encored!

Remastered Quadro Recording (RQR)

“……the orchestra’s performance of Capriccio Espagnol is the real treat here. A clear, bright sound renders the music freshly energised, while the exciting rhythms and lively, sparkling melodies simply carry you away.” Classic FM Magazine, September, 2008

Super Audio CD


Hybrid Multi-channel

Pentatone RQR - PTC5186153



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Martha Argerich - Music for two pianos

Martha Argerich - Music for two pianos


Sonata for 2 pianos in F minor, Op. 34b

Martha Argerich (piano) & Lilya Zilbertstein (piano)

Variations on a theme by Haydn for two pianos, Op. 56b 'St Anthony Variations'

Martha Argerich (piano) & Polina Leschenko (piano)


Variations on a Theme by Paganini, for two pianos

Martha Argerich (piano) & Giorgia Tomassi (piano)


Symphony No. 1 in D major, Op. 25 'Classical'

Transcribed for two pianos by Rikuya Terashima

Martha Argerich (piano) & Yefim Bronfman (piano)


Suite No. 2 for Two Pianos, Op. 17

Martha Argerich (piano) & Gabriela Montero (piano)

Six Pieces, Op. 11

Six Morceaux for piano four hands

Lilya Zilberstein (piano) & Martha Argerich (piano)


The Nutcracker Suite, Op. 71a

Transcribed for two pianos by Nicolas Economu

Martha Argerich (piano) & Mirabela Dina (piano)

To celebrate one of the greatest pianists of the 20th century and following a five year collaboration with the very special ‘Progetto Martha Argerich’, EMI Classics proudly presents this definitive Argerich compilation showcasing the very best music for two pianos from the highly respected Lugano Music Festival.

“If the sound is uneven, that's far outweighed by the buzz we get from these scintillating live performances, all of which sound more like one player (with four hands) than two.” BBC Music Magazine, August 2008 *****

“…at a time when new music is more and more marginalised, modernity is expressed through the interpretation of past works by inspired performers. Lugano is a vibrant tribute to the concept.” Financial Times

EMI - 2076232

(CD - 2 discs)


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Rachmaninov: Symphony No. 1

Rachmaninov: Symphony No. 1


Symphony No. 1 in D minor, Op. 13

Symphonic Movement in D minor 'Youth Symphony'

The Isle of the Dead - Symphonic Poem, Op. 29

Regarded as one of the most remarkable composers of the twentieth century, Serge Rachmaninoff wrote three romantically inclined symphonies, two of which are now standard orchestral repertoire. However, the premiere of Symphony No. 1 was such a disaster that Rachmaninoff refrained from composing anything more for the next three years. The conductor, Glazunov, is reputed to have been drunk, and Rachmaninoff was unable to attend the entire performance. He reacted by tearing up the score. Thankfully for posterity, the instrumental parts were preserved and rediscovered in 1945, permitting the work to be restored. It is a work full of youthful fervour, distinctive and sweeping themes, and nationalist sentiments, and is now widely regarded as a vivid example of his early talent. It is complemented here by the ‘Youth Symphony’, the first movement of a projected but never completed symphony in D minor, composed when Rachmaninoff was only seventeen, and the great symphonic poem The Isle of the Dead, inspired by Arnold Böcklin’s painting of the same name which Rachmaninoff had seen on display in Paris in 1907.

Composed in 1909, it is still a relatively early work, but contains some of the dark Russian spiritual qualities which Rachmaninoff was to develop further in his later compositions.

“Rachmaninov's First receives a landmark performance from the BBC Philharmonic and Gianandrea Noseda. When you listen to it alongside a mature masterpiece, particularly such a darkly atmospheric performance of The Isle of the Dead as this one, it is possible to appreciate how Rachmaninov could deem passages in the symphony to be "weak, childish, forced and bombastic", yet Noseda demonstrates the music's power, eloquent beauty and structural cohesion. Written when he was still in his late teens, the First Symphony already displays distinctive Rachmaninov fingerprints in harmonic terms and in the shaping of melodic ideas, and is in the grip of the fatalism that is rarely absent from his music. Noseda and the BBC Philharmonic recognise this general tenor, but the spectrum for expression of it is broad, from vigorous passion in the first movement and finale to the wistful rumination of the central Larghetto.” The Telegraph, 21st June 2008

“Nothing could be more liquid or gloomy than [Noseda's] reading of the superb symphonic poem The Isle of the Dead. His gifts for mood-juggling and structural flow ensure equally fine accounts of the student Youth Symphony and the composer’s official, stormy Symphony No 1. The full Chandos sound makes everything glow in the dark, especially the shadowy scherzo.” The Times, 6th June 2008 ****

“With the BBC Phil, he delves deep into the dark, gloomy recesses of the Russian soul, brilliantly evoking the composer’s brooding, headily chromatic tone poem The Isle of the Dead...Chandos’s brilliant recording [of Symphony 1] enhances a performance that takes us on an emotional rollercoaster ride: the passion and despair of the composer’s unrequited love for a married woman is drawn with febrile drama here.” Sunday Times, 1st June 2008 ****

“Rachmaninov's First Symphony of 1895... published only after the composer's death. Gianandrea Noseda and the BBC Philharmonic have the work's measure and their performance has a full-blooded intensity and fire. The Isle of the Dead, haunting and powerful in conception, is an undisputed masterpiece. Noseda captures the work's concentration and anguish with its inexorable sense of movement.” BBC Music Magazine, July 2008 *****

“Accomplished and easy to enjoy; but, in a crowded marketplace, not really a front-runner.” Gramophone Magazine, August 2008

BBC Music Magazine

Orchestral Choice - July 2008

Chandos Gianandrea Noseda Rachmaninov series - CHAN10475



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Rubinstein plays Rachmaninov

Rubinstein plays Rachmaninov


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

Recorded 27th May, 1946 in Carnegie Hall, New York City

NBC Symphony Orchestra, Vladimir Golschmann

Rhapsody on a Theme of Paganini, Op. 43

Recorded 16th-17th September, 1947 in EMI Abbey Road Studio No. 1, London

Philharmonia Orchestra, Walter Susskind

Prelude Op. 3 No. 2 in C sharp minor

Recorded 11th December, 1950 in the RCA Studios, Hollywood

Although Rubinstein did not play many works by Rachmaninov, he made four recordings of the Piano Concerto No. 2. If, in this May 1946 recording, Rubinstein’s adherence to the text is not always completely accurate, his performance is full of exhilaration and panache with fast tempos and a climax judged to have any audience jumping to its feet. The 1947 recording of the Rhapsody on a Theme of Paganini is remarkable, even today, for the high quality of the sound, described as “Stunning! The recording is almost too vivid”, by a critic in 1948. The only solo work of Rachmaninov that Rubinstein committed to disc was the famous Prelude in C sharp minor Op. 3 No. 2 which he recorded twice.

Naxos Historical Great Pianists - 8111289



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