Rachmaninov: Vocalise, Op. 34 No. 14

This page lists all recordings of Vocalise, Op. 34 No. 14, by Sergey Vassilievich Rachmaninov (1873-1943) on CD, SACD, DVD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Russian Light

Russian Light


Glinka:

Grustno mne, roditel' dorogoy! (from Ruslan and Lyudmila)

Rachmaninov:

Spring torrents, Op. 14 No.11

Vocalise, Op. 34 No. 14

Ne poy, krasavitsa, pri mne, Op. 4 No. 4

How fair this spot, Op. 21 No. 7

Rimsky Korsakov:

Hymn to the Sun

Snow Maiden's aria (from The Snow Maiden)

Lullaby of Volkhova (from Sadko)

Marfa's Scene & Aria: In Novgorod from The Tsar's Bride

Eastern Song: Enslaved by the rose, the nightingale Op. 2 No. 2

Shostakovich:

Ya v shkolu kogda-to khodila (from Cheryomushki)

Chasy na ploshchadi zazhglis (from Cheryomushki)

Stravinsky:

Nightingale's Song (from The Nightingale)


Olga Peretyatko (soprano)

Ural Philharmonic Orchestra, Dimitri Liss

On her new album “Russian Light”, Olga Peretyatko presents favourite arias and songs from her homeland Russia – by Glinka, Rimsky-Korsakov, Rachmaninov, Stravinsky and Shostakovich. Many of them are well known (Rachmaninov’s Vocalise) but there are also unknown rare jewels on the album like the songs from Rachmaninov or the opera arias by Shostakovich. She teamed with the Ural Philharmonic Orchestra, one of the best orchestras in Russia, and excellent for this kind of repertoire with conductor Dimitry Liss, specialist for this repertoire.

The main focus of “Russian Light” falls on excerpts from operas that have left a deep imprint on Russia’s national music. Among these are Glinka’s Ruslan and Ludmila as well as Rimsky-Korsakov’s The Golden Cockerel, The Snow Maiden and The Tsar’s Bride. The latter piece represents a personal triumph for Ms Peretyatko, for she sang the role of Marfa under Daniel Barenboim to open the 2013 season at the Berlin State Opera. With her silvery timbre and solid mastery of coloratura she thrilled not only the audience but the critic of Der Tagespiegel: “Olga Peretyatko projects Marfa as a being so delicate and other-worldly that it strikes the knowledgeable listener to the core.”

Other excerpts on “Russian Light” are taken from operas by Stravinsky and Shostakovich that likewise accompanied Ms Peretyatko on her rise to stardom. In 2009 she stepped in at short notice for an indisposed colleague to sing the role of Lidochka in Shostakovich’s operetta Moscow, Cheryomushki at the Opéra de Lyon. Though she had only two days’ time before the première, she won acclaim for her breathtaking character depiction. In 2010 she sang The Nightingale in Stravinsky’s like-named opera (Le Rossignol) at the festival in Aix-en-Provence. When the production was mounted in New York and Canada the North American critics went wild about her effortless presentation and the “fresh sound of her voice”.

“The Russian coloratura soprano’s sound falls so easily on the ear but never tends to blandness: the Act One cavatina from Ruslan and Lyudmila showcases her dazzling agility, whilst the Lullaby from Sadko reveals warm mezzo-ish tints in the middle voice.” Katherine Cooper, Presto Classical, June 2017

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Aida

Aida


anon.:

Alluki

Cossack Lullaby

Delibes:

Où va la jeune Indoue? 'Bell Song' (from Lakmé)

Gounod:

Ah! Je veux vivre dans ce rêve (from Roméo et Juliette)

Rachmaninov:

Lilacs, Op. 21 No. 5

How fair this spot, Op. 21 No. 7

Vocalise, Op. 34 No. 14

Rimsky Korsakov:

Song of the Hindu Guest (from Sadko)

Akh, bednaya Snegurocka, dirkarka! - S podruzkami po yagodu khodit (from The Snow Maiden)

Hymn to the Sun

Tsaritsa's Dance of Seduction (from Le Coq d'Or)

Oriental Romance, Op. 2 No. 4

Soloviev-Sedoy:

Midnight In Moscow

Tchaikovsky:

O ditya, pod okoshkom tvoim (Serenade), Op. 63 No. 6

Spi, mladénets moy prekrásny (from Mazeppa)


Aida Garifullina (soprano)

ORF Radio-Symphonieorchester Wien, Cornelius Meister

Aida Garifullina’s debut album is one of the most eagerly awaited operatic events of the year!

Since her triumphant win at Plácido Domingo’s Operalia 2013, the young star soprano from Kazan has become the hottest newcomer of the opera world – winning audiences over with stand-out performances at Vienna State Opera and Mariinsky Theatre, recitals at the Wigmore Hall and Vienna Musikverein and a US tour with Andrea Bocelli. Boosting a unique media profile Aida has made her feature film debut in Florence Foster Jenkins alongside Meryl Streep and Hugh Grant. She has appeared on German, Austrian, French and Russian TV multiple times, including televised performances at Vienna and Dresden Opera Balls, Rolando Villazon’s Stars von Morgen on ZDF, and the 2016 Bastille Day Concert in Paris in front of the Eiffel Tower, watched by millions. Aida has duetted with some of opera’s greatest stars, including Plácido Domingo, Andrea Bocelli, Juan Diego Florez, Dmitri Hvorostovsky and Rolando Villazón

Her debut album showcases Aida at her very best – treasures of her beloved Russian opera are combined with two of her signature arias: Delibes’ ‘Bell Song’ (as featured in her stand out performance in Florence Foster Jenkins) and Gounod’s ‘Je veux vivre’, which she performed to rave reviews at the Vienna Opera Ball. The selection also includes the hauntingly beautiful folk song ‘Alluki’ sung in Aida’s native Tatar language, recorded here for the first time, and ‘Midnight in Moscow’, adding her vocal to a Balalaika orchestra recording from the early 1960s in this classic Russian tune

BBC Music Magazine

Opera Choice - April 2017

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Gala Performances Box Set

Gala Performances Box Set


Bizet:

Parle-moi de ma mère (from Carmen)

Angela Gheorghiu, Roberto Alagna

Curtis, E:

Tu ca nun chiagne

Roberto Alagna

Donizetti:

Quel guardo il cavaliere (from Don Pasquale)

Leontina Vaduva

Caro elisir, sei mio (from L'elisir d'amore)

Plácido Domingo, Leontina Vaduva

Gounod:

Faust - Prologue

Plácido Domingo, Robert Lloyd

Avant de quitter ces lieux (from Faust)

Dwayne Croft

Grigoriu:

Muzica (from Valurile Dunarii)

Angela Gheorghiu

Halévy:

Rachel, quand du Seigneur (from La Juive)

Roberto Alagna

Mascagni:

Suzel, buon di 'Cherry Duet' (from L'amico Fritz)

Plácido Domingo, Verónica Villarroel

Massenet:

Ah! Tout est bien fini... O souverain (from Le Cid)

Plácido Domingo

Mozart:

La ci darem la mano (from Don Giovanni)

Plácido Domingo, Susan Graham

Rachmaninov:

Vocalise, Op. 34 No. 14

Kiri Te Kanawa

Stephen Barlow

Rimsky Korsakov:

A skaly groznyje - Song of the Varangian Merchant

Paata Burchuladze, Dmitri Hvorostovsky

Edward Downes

Strauss, R:

Mir ist die Ehre widerfahren (from Der Rosenkavalier)

Susan Graham, Lillian Watson

Tchaikovsky:

The Snow Maiden, Op. 12: The Dance of the Clowns

Edward Downes

The Snow Maiden, Op. 12: Schneeflöckchen

Maria Deller-Takemura, Philip Mosley

Barry Wordsworth

None but the lonely heart, Op. 6 No. 6

Plácido Domingo

Edward Downes

Ya vas lyublyu 'Yeletsky’s aria' (from Pique Dame)

Dmitri Hvorostovsky

Stephen Barlow

Pas de deux

Darcey Bussell, Zoltán Solymosi

Barry Wordsworth

Gospod' moy, yesti greshen ya from Iolanta

Paata Burchuladze

Edward Downes

Akh, istomilas' ya gorem from The Queen of Spades

Anna Tomowa-Sintow

Stephen Barlow

The Nutcracker: Grand pas de deux

Leanne Benjamin, Tetsuya Kumakawa

Barry Wordsworth

1812 Overture, Op. 49

Elizabeth McGorian, Adam Cooper, Iohna Loots

Pas de deux (Anastasia)

Viviana Durante, Bruce Sansom


Two spectacular gala concerts from the stage of the Royal Opera House, Covent Garden, are brought together here in their unforgettable glory. In the 1993 Winter Gala, world-leading singers (including Plácido Domingo, Dmitri Hvorostovsky and Kiri Te Kanawa) and dancers (including Darcey Bussell, Lesley

Collier, and Irek Mukhamedov) celebrate the music of Tchaikovsky, in highlights from such opera and ballet favourites as The Queen of Spades and Eugene Onegin, The Nutcracker and The Sleeping Beauty. In the famously glittering 1996 gala concert, Domingo is joined by a cast of opera stars including Angela

Gheorghiu, Roberto Alagna and Susan Graham. Asher Fisch conducts this programme of great opera arias by composers including Bizet, Massenet, Gounod, Mozart and Donizetti.

These classic recordings are preserved in their original Standard Definition and 4:3 picture format, capturing The Royal Opera and The Royal Ballet at a memorable period in their long history.

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Tharaud plays Rachmaninov

Tharaud plays Rachmaninov


Rachmaninov:

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

Royal Liverpool Philharmonic Orchestra, Alexander Vedernikov

Morceaux de Fantaisie, Op. 3

Vocalise, Op. 34 No. 14

Sabine Devieilhe (soprano)

Pieces (2) in A major for piano 6 hands - Waltz & Romance

Aleksandar Madžar (piano) & Alexander Melnikov (piano)


French pianist Alexandre Tharaud takes on the blockbuster ‘Rach 2’ concerto in a thrilling performance with the Royal Liverpool Philharmonic Orchestra and Russian maestro Alexander Vedernikov. It is coupled with more intimate Rachmaninov for piano six-hands (for which Alexandre is flanked by Alexander Melnikov and Aleksandar Madžar) and the icing on the cake: a sublime Vocalise in the original version for voice and piano, with pure-voiced French soprano Sabine Devieilhe.

Alexandre Tharaud’s recorded catalogue is large and eclectic, but this is the first time he has devoted an entire album to Russian repertoire – specifically to the music of Sergei Rachmaninov. “I was still quite young when I first played this concerto,” explains Tharaud. “I adored it … Rachmaninov’s virtuosity really appeals to young pianists. Today, of course I’m still enthralled by the concerto’s virtuosity, but now I’m more interested in its dark shadows: the sense of despair, of staring into the abyss. My interpretation of Rachmaninov has changed a lot over the years.”

“After the famous introductory bars – following the score rather than the composer’s recording – the sweeping first subject enters faster, thankfully, than Richter’s celebrated account but with the same majestic assurance.” Gramophone Magazine, October 2016

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Alisa Weilerstein: Chopin & Rachmaninov

Alisa Weilerstein: Chopin & Rachmaninov


Chopin:

Cello Sonata in G minor, Op. 65

Étude Op. 25 No. 7 in C sharp minor

arr. Franchomme for cello & piano

Polonaise brillante Op. 3 for cello & piano

Rachmaninov:

Cello Sonata in G minor, Op. 19

Vocalise, Op. 34 No. 14


Alisa Weilerstein (cello) & Inon Barnatan (piano)

Together with long-term duo partner Inon Barnatan, best-selling Decca cellist Alisa Weilerstein records two of the giants of ‘cello chamber music: the Rachmaninov and Chopin sonatas.

Alisa Weilerstein’s debut on Decca with the Elgar Cello Concerto (conducted by Daniel Barenboim; his first recording of this outstanding work since his earlier recording with the legendary Jacqueline du Pre) was received rapturously by critics worldwide; and her subsequent recording of the Dvorak cello concerto no less well-received.

Alisa Weilerstein and Inon Barnatan are two of the world’s leading instrumentalists, and this album clearly shows the benefits of a long-lasting chamber music partnership with two exceptional musicians, captured in their prime.

The Rachmaninov Sonata in G minor for Cello and Piano – premiered with the composer himself playing the fiendishly tricky piano part – is Rachmaninov’s last chamber music work. One of the first major pieces to be written after Rachmaninov overcame “writer’s block” with a course of hypnotherapy, this is a piece to be discovered and treasured.

Chopin’s Cello Sonata in G minor is one of the few works Chopin wrote for instruments other than the piano; and the last of his works to be published in his lifetime. Remarkable for its concentration of material, no work of Chopin’s gave him more trouble; “I write a little and cross out a lot”, wrote Chopin. Alisa and Inon bring out a wealth of feeling in this emotional rollercoaster of a piece.

By contrast, Chopin’s Introduction and Polonaise Brillante is one of his first published compositions. Full of bravura and verve, it has an undeniable feel for the spirit of the dance and a distinctive theme. Then Chopin’s Etude – essentially a nocturne – brings a dramatic change of character and mood “somber, mysterious dreams” (Heller); “a song of happiness irredeemably lost” (Koczalski).

When Alisa Weilerstein and Inon Barnatan perform together, audiences are enthralled, critics enraptured. This disc sets a new benchmark for recordings of these great works, and this exceptional quality of music-making is certain to set the bar for a long time.

“The pair closed with Chopin’s Sonata for Cello and Piano, a work of such fiendish difficulty that even Chopin was convinced that parts of it might be unplayable. Ms. Weilerstein and Mr. Barnatan put that notion to rest with their poise and passion, and they returned amid thunderous applause”

“it's hard to imagine many cellist-pianist duos more mutually fond of risk-taking. They certainly don't hold back in Rachmaninov's Cello Sonata, often pushing it to the brink…what emerges is an interpretation in which no single colour outstays its welcome. The same goes for Chopin's Cello Sonata, whose sense of restlessness suits this duo well” Gramophone Magazine, November 2015

“The glorious ebb and flow of melodic material that courses through the veins of the Rachmaninov and Chopin Sonatas seems absolutely tailor-made for a cellist with the flamboyance and intensity of Alisa Weilerstein. In this superbly recorded recital, she delivers one of the most compelling performances of the Rachmaninov I've ever heard...Barnatan brings great musical insight and a marvellous variety of tone to the hugely demanding piano part.” BBC Music Magazine, January 2016 *****

“Ms. Weilerstein and Mr. Barnatan give rhapsodic and stylish accounts of these impressive works, neither of which turns up that often on recital programs.” San Francisco Chronicle, 5th January 2015

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Chamber Choice - January 2016

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Nicholas McCarthy: Solo

Nicholas McCarthy: Solo


Bellini:

Casta Diva (from Norma)

Blumenfeld:

Etude for the left hand, Op. 36

Chopin:

Étude Op. 10 No. 3 in E major 'Tristesse'

Étude Op. 25 No. 12 in C minor

arr. Godowsky

Einaudi:

I Giorni

Gershwin:

Summertime (from Porgy and Bess)

Liszt:

Liebestraum, S541 No. 3 (Nocturne in A flat major)

Mascagni:

Cavalleria Rusticana: Intermezzo

Puccini:

O mio babbino caro (from Gianni Schicchi)

Rachmaninov:

Vocalise, Op. 34 No. 14

Scriabin:

Prelude, Op. 8 No. 12 in D sharp minor

Étude Op. 2 No. 1 in C sharp minor

Nocturne in D flat major Op. 9 No. 2

Strauss, R:

Morgen, Op. 27 No. 4

Wild:

Seven Virtuoso Etudes on Gershwin Songs: No. 3. The Man I Love


Nicholas McCarthy (piano)

Born without his right hand, award-winning British pianist Nicholas Mccarthy is a champion of the brave, dynamic world of left-hand repertoire. here, in his first solo album, he scales the heights of expressive and virtuosic possibility, presenting his own and others’ transcriptions of works – many of them classical favourites, such as Puccini’s “o mio babbino caro” and Gershwin’s “summertime” – alongside pieces written especially for the left hand. the result is a fascinating and absorbing programme which traces the history of this unique genre from its nineteenth-century beginnings to the present day.

“McCarthy is a fine pianist and the piano sings with a generous tone.” Gramophone Magazine, October 2015

“McCarthy offers good, solid, forthright interpretations, especially of the works that appear in their original form. It is an excellent opportunity to celebrate this unusual corner of piano repertoire. But where this CD wins most is in its symbolism: an unlikely candidate for piano stardom overcomes a massive obstacle and fulfils his dream despite everything. That can do more than offer pleasant listening; it can be an example and an inspiration” BBC Music Magazine, December 2015 ****

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Viktoriya Dodoka: Rachmaninov Songs

Viktoriya Dodoka: Rachmaninov Songs


Rachmaninov:

Sing not, O lovely one (Ne poi, krasavitsa, pri mne), Op. 4 No. 4

The Harvest Of Sorrow, Op. 4 No. 5

Water lily, Op. 8 No. 1

A dream, Op. 8 No. 5

Prayer, Op. 8 No. 6

Small island, Op. 14 No. 2

Spring torrents, Op. 14 No.11

Twilight, Op.21 No. 3

Lilacs, Op. 21 No. 5

Loneliness

How fair this spot, Op. 21 No. 7

Sorrow in Springtime

At my window, Op. 26 No.10

Night is sorrowful, Op. 26 No.12

Day to Night comparing...

Vocalise, Op. 34 No. 14

At night in my garden, Op. 38 No. 1

To her, Op.38, No. 2

Daisies, Op. 38 No. 3

The pied piper, Op.38, No. 3

Sleep, Op.38, No. 5

'A-oo', Op.38, No. 6


Viktoriya Dodoka (Soprano), Iola Shelley (Piano)

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Arensky: Piano Trios

Arensky: Piano Trios


Arensky:

Piano Trio No. 1 in D minor, Op. 32

Piano Trio No. 2 in F minor, Op. 73

Rachmaninov:

Vocalise, Op. 34 No. 14

arr. Julius Conus


Leonore Piano Trio: Tim Horton (piano), Benjamin Nabarro (violin) & Gemma Rosefield (cello)

Arensky’s Piano Trios represent a fine example of the Russian romantic piano trio, a form ‘invented’ by Tchaikovsky, Arensky’s close friend and influence.

Piano Trio No 1 is the more popular of the two, dedicated to the cellist Karl Davidoff. Davidoff is regarded as the founder of the Russian school of cello-playing, and Arensky’s dedication accounts for the fact that the cello plays such a prominent role, having most of the principal themes and often seeming to eclipse the violin in importance. Piano Trio No 2 is one composer’s last works, and marks a considerable advance in Arensky’s compositional techniques.

Hyperion is delighted to present the Leonore Piano Trio (Tim Horton, Benjamin Nabarro and Gemma Rosefield, who features as soloist on Hyperion’s Romantic Cello Concerto series Volume 3: Stanford Cello Concertos) in its debut recording.

“here is music for all those who weary of grappling with the complexities of contemporary works to rejoice in an all-Russian fountain of melodic charm...The Leonores play with truly glorious affection and security, and it is hard to imagine playing of a greater empathy.” Gramophone Magazine, April 2014

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Shostakovich & Rachmaninov: Cello Sonatas

Shostakovich & Rachmaninov: Cello Sonatas


Rachmaninov:

Cello Sonata in G minor, Op. 19

Vocalise, Op. 34 No. 14

arr. L. Rose

Shostakovich:

Viola Sonata, Op. 147

arr. D. Shafran


Leonard Elschenbroich (cello) & Alexei Grynyuk (piano)

The young German cellist Leonard Elschenbroich has rapidly made a name for himself as one of the most exciting and gifted cellists of his generation. Leonard Elschenbroich’s many awards include: the Leonard Bernstein Award, Borletti-Buitoni Trust Award, Eugene Istomin Prize, Pro Europa prize, Landgraf von Hessen price of the Kronberg Academy, Nordmetall Prize of the Mecklenburg-Vorpommern Festiva and the Firmenich Prize of the Verbier Festival.

From 2004–2008 he was supported by the Anne-Sophie Mutter Foundation, performing with her on a number of occasions, including a European tour. He is also part of the BBC New Generation Artists programme, and appeared at the 2012 Proms season together with his chamber music partners Nicola Benedetti and Alexei Grynyuk. Together with Benedetti and Grynyuk he embarks on a major chamber music tour of Scotland in March. Rachmaninov’s cello sonata was composed at the same time as the Second Piano Concerto. Although as one would expect from such a great pianist-composer, the piano part is demanding, it never threatens to overwhelm the cello, and the result is a beautifully balanced and passionate work.

Shostakovich’s viola sonata was his last composition, finished on his deathbed. Sketches show that the composer was also considering a second cello sonata for his old friend Rostropovich – then living outside the USSR. The arrangement on this CD for cello was made by Daniil Shafran with the dying composer's blessing. In the Viola Sonata, as in his Fifteenth Symphony, Shostakovich alludes to several of his previous works, from the Suite for two pianos Op.6 to the opening movement (De Profundis) from his Fourteenth Symphony. He also quotes from other composers’ works, Berg’s Violin Concerto and, most obviously, throughout the final Adagio, from the first movement of Beethoven’s ‘Moonlight’ Sonata, which he uses as the basis for a kind of free meditation.

“a performance of tremendous assurance and power. You could argue that the cello's warmth adds a touch of lyricism that detracts from the sparseness of the original. But there's no mistaking the intensity and commitment that Elschenbroich and pianist Alexei Grynyuk bring to it...Exceptional.” The Guardian, 9th May 2013 *****

“His striking reading of Daniil Shafran’s adaptation announces [Leonard Elschenbroich] a major new talent… This is one of the most articulate and highly characterised accounts I’ve heard on the cello… The Shostakovich reveals Alexei Grynyuk to be a remarkable musician with a commanding sense of architecture” BBC Music Magazine, August 2013

“There is a romantic soul of warmth and virile energy to this interpretation [of the Rachmaninov] that makes it very special indeed...there is an intensely inward, deeply communicative quality to this performance [of the Shostakovich] that draws you right to its tragic, pensive core.” The Telegraph, 15th August 2013 *****

“This is a quite exceptional performance of Rachmaninov's Cello Sonata...you immediately sense that they are going to have something of uncommon interest to impart in their interpretation...In the entirely different realms of late Shostakovich, Elschenbroich and Grynyuk are no less persuasive.” Gramophone Magazine, Awards Issue 2013

“Very much a sonata for cello and piano, rather than merely a cello sonata with piano accompaniment, the Op. 19 has a formidably demanding piano part which at the same time must never be allowed to overwhelm the lyrical voice of the cello. Alexei Grynyuk and the young cellist Leonard Elschenbroich strike the perfect balance in this recording.” David Smith, Presto Classical

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Russian Piano Encores

Russian Piano Encores


Borodin:

Scherzo in A flat

Liadov:

A Musical Snuffbox, Op. 32

Prokofiev:

Romeo & Juliet before parting

Masks from ‘Romeo and Juliet'

Rachmaninov:

Prelude Op. 3 No. 2 in C sharp minor

Étude-Tableau, Op. 39 No. 1 in C minor

Étude-Tableau, Op. 39 No. 2 in A minor

Étude-Tableau, Op. 39 No. 5 in E flat minor

Lilacs, Op. 21 No. 5

Daisies, Op. 38 No. 3

Vocalise, Op. 34 No. 14

arr. Kocsis

Shostakovich:

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

Short Piece from The Gadfly, Op. 97

Spanish Dance from The Gadfly, Op. 97

Nocturne (The Limpid Stream)

Polka from The Golden Age, Op. 22

Taneyev, S:

Prelude and Fugue in G sharp minor, Op. 29

Tchaikovsky:

The Seasons, Op. 37b: June (Barcarolle)

Dumka (Russian Rustic Scene), Op. 59


Many European countries have vied with one another in claiming the largest number of piano virtuosos. No one would dispute, though, that Russia has generated more than its share. The so-called ‘Russian piano school’, which originated in the 1800s with brilliant performers such as Alexander Siloti and brothers Anton and Nikolai Rubinstein, continues to produce first-class pianists, and to influence performance styles and keyboard virtuosity all around the world.

Given Russia’s richness in superstar pianists, it is not surprising that Russian composers have composed extensively for the piano. Some of the composers represented in this collection were impressive pianists in their own right, and they composed music designed to display their own technique and artistry. Others were more modestly gifted as performers, but still composed idiomatically for the piano.

This collection brings together recordings by Vladimir Ashkenazy spanning some 40 years, from November 1963 (the three Rachmaninov Études-Tableaux) to March 2004 (the Kocsis transcription of Vocalise). Some of them appeared as fillers for bigger works – for instance, the Études-Tableaux were coupled with the 1964 recording of Rachmaninov’s Piano Concerto No. 2 with Kyril Kondrashin, one of Ashkenazy’s earliest recording for Decca, and his first solo recording for the label. Tchaikovsky’s Dumka and the pieces by Taneyev, Liadov and Borodin were recorded in January 1983 and issued on LP as a coupling for his digital recording of Mussorgsky’s Pictures at an Exhibition. The two pieces from Prokofiev’s Romeo and Juliet were taped in 1968 as couplings for the composer’s Eighth Piano Sonata.

“This wide-ranging conspectus of Russian piano miniatures spans Ashkenazy's career from 1963 to 2004. Fine playing, occasionally short on charm.” BBC Music Magazine, December 2012 ****

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