Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23

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Solomon - Concert Recordings (Volume 1)

Solomon - Concert Recordings (Volume 1)


Beethoven:

Piano Concerto No. 3 in C minor, Op. 37

Royal Concertgebouw Orchestra, Eduard Van Beinum

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

Kansas City Philharmonic, Hans Schwieger


Solomon (piano)

“[In the Beethoven] the playing is pearly, sensitively nuanced and fleet... High spirits and bubbly humor mark the finale... Given the two relatively tame inscriptions Solomon made... commercially of the Tchaikovsky... this supercharged conception has the earmarks of a British Horowitz.” Audiophile Audition

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Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23, etc.

Rachmaninov:

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

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23


“This is the Rachmaninov Third to end all Rachmaninov Thirds, a performance of such super-human pianistic aplomb, pace and virtuosity that it makes all comparisons, save with Horowitz himself, a study in irrelevance.
Horowitz's 1930 recording with Albert Coates made Artur Rubinstein pale with envy; goodness knows how he'd have reacted had he heard Horowitz and Barbirolli! Taken from a 1941 New York broadcast (with apologies from the producer for snaps, crackles, pops and the like) Horowitz's tumultuous, near-apocalyptic brilliance includes all his unique and tirelessly debated attributes; his swooning rubato, thundering bass and splintering treble, his explosive attack, his super-erotic inflexions and turns of phrase. Try the skittering scherzando variation just before the close of the central Intermezzo and note how the pianist's velocity eclipses even his legendary recording with Fritz Reiner. This ultimate wizard of the keyboard is in expansive mood in the Tchaikovsky. There are ample rewards, too, for those who rejoice in Horowitz at his most clamorous, for the thunder and lightning of this 'Tornado from the Steppes'. The performance ends in what can only be described as a scream of octaves and an outburst by an audience driven near to hysteria. Barbirolli and the New York Philharmonic Symphony Orchestra are equal to just about every twist and turn of their volatile soloist's argument and so these performances (and most notably the finale of the Rachmaninov) are simply beyond price.”
Gramophone Classical Music Guide, 2010

“Yes, the pundits were right. This is the Rachmaninov Third to end all Rachmaninov Thirds, a performance of such super-human pianistic aplomb, pace and virtuosity that it makes all comparisons, save with Horowitz himself...a study in irrelevance...The ultimate wizard of the keyboard is in expansive mood in the Tchaikovsky...The perfomance ends in what I can only describe as a scream of octaves and an outburst by an audience driven near to hysteria.” Gramophone Magazine

APR - APR5519

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Tchaikovsky: Complete works for piano and orchestra

Tchaikovsky: Complete works for piano and orchestra


Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

Piano Concerto No. 2 in G major, Op. 44

Piano Concerto No. 3 in E flat major, Op. 75

Concert Fantasy, Op. 56

Allegro in C minor for piano & strings

Andante and Finale, Op. 79

(2nd and 3rd movements to Piano concerto No 3, orchestrated by Sergey Taneyev)


“Marshev's no-nonsense muscularity brings a sense of physical involvement, but there is little sense of light and shade in his playing.” BBC Music Magazine, November 2007 **

“Marshev returns to top form, all guns blazing, with the three piano concertos (the last two movements of No 3 orchestrated by Taneyev as the Andante and Finale in B flat/E flat, Op 79), the Concert Fantasia in G and Tchaikovsky's rarely heard early Allegro in C minor for piano and strings. The latter dates from his student days (1863-64) and lasts a mere two and a half minutes.
It was unearthed only in 1965 and, while hardly significant music, is an interesting sign of things to come. David Fanning's comprehensive essay on the evolution of the six works on these two discs is a further reason to invest.
But to the main fare. The much-thumbed pages of the B flat minor Concerto (No 1) come up as fresh as paint without any startling revelations, a fine account, with all concerned at one with the spirit and the letter. No 2, however, recorded a year later in August 2002, is quite outstanding. The first movement's bracing tempo (a true allegro brillante e molto vivace) allows Marshev to revel in the massive pianowriting to properly heroic effect, the brittle tone that he prefers well pitted against the Aalborg players, especially the enthusiastic brass section.
The highlight of the two discs, though, is the slow movement. Played without Ziloti's cuts, it is one of the most affecting accounts on disc.
Alexander Zeiher, violin, and Vincent Stadlmaier, cello, are Marshev's partners.
With the Third Concerto (Marshev's first movement comparable with an old favourite – Gary Graffman and Ormandy) and the ConcertFantasia handled in a similar vein, all 134 minutes of music come enthusiastically recommended.”
Gramophone Classical Music Guide, 2010

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Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23, etc.

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

Piano Concerto No. 3 in E flat major, Op. 75

Andante and Finale, Op. 79

orch. Taneyev


Naxos - 8550819

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Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23, etc.

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

Violin Concerto in D major, Op. 35


Warner Classics Encore - 5747572

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Vladimir Horowitz

Vladimir Horowitz

Two previously unissued concert performances


Rachmaninov:

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

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23


Recorded August 1949, 1950

"Both the Tchaikovsky B flat and Rachmaninov Third Concertos were central to the creation of the Horowitz legend, but whereas the latter was regularly programmed throughout the pianist's career, a return was never made to the Tchaikovsky after the 12-year break from concertizing in 1953?.With the Koussevitzky, earthily intense in that summer before the venerable maestro's passing, these are essential supplements to the early and later recordings." -Terry Bennett, International Classical Record Collector, Autumn, 1997

Music & Arts - MACD4963

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Piotr Ilyitch Tchaïkovsky - Orchestral masterpieces, volume 1

Piotr Ilyitch Tchaïkovsky - Orchestral masterpieces, volume 1


Tchaikovsky:

Symphony No. 4 in F minor, Op. 36

1812 Overture, Op. 49

Romeo & Juliet - Fantasy Overture

Piano Concerto No. 1 in B flat minor, Op. 23


Vanguard Classics - ATMCD1190

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Great Pianists - Solomon

Great Pianists - Solomon


Chopin:

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

Fantasia in F minor, Op. 49

Étude Op. 25 No. 3 in F major

Étude Op. 10 No. 8 in F major

Étude Op. 25 No. 1 in A flat major 'Aeolian Harp'

Polonaise No. 6 in A flat major, Op. 53 'Héroïque'

Liszt:

La leggierezza - Étude de concert No. 2, S144

Au bord d'une source (Années de pèlerinage I, S. 160 No. 4)

Rákóczi-Marsch simplified transcription of the orchestral version S244b

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23


Solomon Cutner (piano)

Naxos Historical Great Pianists - 8110680

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

Brahms:

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

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23


Penguin Guide

Rosette Winner

Naxos Historical Great Pianists - 8110671

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Great Pianists - Moiseiwitsch 3

Great Pianists - Moiseiwitsch 3


Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

Piano Concerto No. 2 in G major, Op. 44

(ed. A. Siloti)

Chanson triste, Op. 40 No. 2


Naxos Historical Great Pianists - 8110655

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