Rachmaninov: Prelude Op. 3 No. 2 in C sharp minor

From nostalgic memories, the sound of bells, the winds of the steppes, to visions of a flickering future; Russian piano music, from Mussorgsky to Scriabin, finds its perilous equilibrium in a romantic past, beyond the immense, icy landscapes, with intimate confessions from heartbroken souls, with a virtuosity vying with the opera and the orchestra yet which retains the gentleness of a lullaby, of a child's laughter, of a disenchanted poem scribbled down one evening of drunken melancholy. From Tchaikovsky to Rachmaninov, by way of Rimsky-Korsakov, Borodin and Mussorgsky, it is a journey that takes us from St Petersburg to Moscow, across that vast country with its universal emotions. The piano is the instrument of kings, in the nineteenth century above all. Rachmaninoff, as we know from his recordings, was probably the greatest of them all: virtuosic and inspired, a visionary and a poet. Scriabin, before he injured his right hand (whence the Prelude for left hand op.9), also planned a solo career. Mussorgsky, too, was an excellent pianist. Only Rimsky-Korsakov, Borodin and Tchaikovsky were no more than competent amateurs on the piano, but that did not prompt them to give up composing for the instrument - far from it, in fact.

Recorded 1951-1954

It is with some pride that Cornwall-based Magdalen is releasing several recordings of Saltash-born Dame Moura Lympany (others will surely follow in due course). Lympany had a clear affinity with Russian music and with Rachmaninov in particular: she was the first artist to record the Preludes complete (the recordings in this collection date from 1951) and her performances of Piano Concertos 1 – 3 under Malko and Collins, made between 1952 and 1954 and among the first to appear on LP, have always been treasured by critics and public alike. Space does not allow for all 24 Preludes but we have chosen eighteen of the finest to accompany the concertos. Quite simply, this is music-making to wallow in and to marvel at!

The meteoric ascent of Vassily Primakov's international career has resulted from a series of competition victories, prizes in honour of his artistry, and his award-winning recordings. Winner of First Prize in the Young Concert Artist International Auditions and the Audience Prize of the Gina Bachauer International Competition, Primakov was named the Classical Recording Foundation's “Young Artist of the Year” in 2007.

His much-heralded recordings have garnered National Public Radio's “CD of the Year” (Chopin Mazurkas, 2010), American Record Guide's “Best of the Year” (Schubert Impromptus; and Dvorak Piano Concerto, 2011) and BBC Music Magazine's Music Choice (Chopin Ballades, Brahms Intermezzi, and Scriabin Sonata No. 4, 2010).

This new recording presents Primakov's renditions of some of Rachmaninoff's most beloved works, played on a superb Bechstein Concert Grand.

The piano music of Rachmaninov explores the registral capabilities of the modern piano in a fascinating manner. Rachmaninov’s artistic idiom is rich in references to traditional Russian music. It is, however, counter-pointed by a progressive chromaticism set in a neo-classical framework. Rachmaninov incorporates haunting melodies, thick chordal textures and distinct rhythmic patterns – all of which are held in a musical architecture marked by astounding economy.

Rachmaninov was a remarkable artist: he excelled in the fields of composing, performing and conducting. His playing indeed, along with the size of his hands, has become legendary. As a composer Rachmaninov is famous for his symphonies, concerti and instrumental music. In addition, his songs and sacred music have recently gained recognition as important areas of his oeuvre.

Jeremy Filsell is one of very few performers to have established a virtuoso concert career as both a pianist and organist on the international stage. This recital disc explores Filsell’s lifelong love of Rachmaninov’s piano music, surveying selections from Preludes and Sonatas as well as two song transcriptions.

This young pianist uses his everyday encounters and experiences as much as his contact with the keyboard to nourish his music. He particularly enjoys chamber music and has worked with ensembles such as the Psophos Quartet. He has a taste for intimate venues, where a true exchange with the audience can take place. Here he brings his talents to his native French and Russian works.

“No doubt remained as soon as the piano began to reverberate: on the stage was a first class musician and a maestro.” SOVIETSKAIA KULTURA Moscow 1960

“For some years now Idil Biret has been a widely-respected figure for music-lovers, witness her exemplary interpretations of Scriabin, Bartók and Prokofiev. The masterly way in which she marshals her approach to, above all, works of our century has led to a stylistic unity of written score and interpretation which, far beyond the conventional adulation lavished on stars, has concentrated attention on Idil Biret as an artistic force of outstanding merit.” DIE WELT Germany 1979

“The campus of Muhlenberg College in Allentown, 50 miles north of Philadelphia, was where you needed to be on Sunday November 14, if you are a lover of transcendental piano-playing. Idil Biret, the great Turkish pianist, gave a recital devoted entirely to 20th Century works and demonstrated in this perhaps surprising context the true meaning of the word “virtuosity”: not flashy superficiality, but simply a technical command so complete that the performer can, as it were, take the solution of problems for granted and concentrate entirely on musical issues… If 20th-century music were always performed like this, it would surely not suffer from the hearer-unfriendly reputation that still too often bedevils it.” MUSICWEB USA 2004

Jan Paderewski enthralled the world with his artistry for more than half a century. Immensely popular as a recitalist (he played in Madison Square Garden to 20,000 people), he came to recording as late as 1911, leaving an important legacy.

These recordings, mostly from the 1920s and some unpublished on 78rpm, show Paderewski as a uniquely eloquent interpreter of Beethoven, his compatriot Chopin, Schubert, Mendelssohn, Schumann, Liszt, Wagner, Rachmaninov, Debussy and his own compositions.

Whether performing in grand Romantic style, with scintillating virtuosity, or as if confiding intimate secrets, Paderewski possessed what Henry James memorably described as “exhilarating goodness”.

“Systematic treatment of Paderewski's large discography is long overdue….it is bound to entice historic piano recording collectors.” Classics Today