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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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

Released or re-released in last 6 months

Hyperion - CDA68015

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Rachmaninov: The Transcriptions

Rachmaninov: The Transcriptions


Bach, J S:

Partita for solo violin No. 3 in E major, BWV1006

Behr:

Lachtäuben

Bizet:

L'Arlésienne Suite No. 1: II. Minuet

Kreisler:

Liebesleid

Liebesfreud

Mendelssohn:

A Midsummer Night's Dream: Scherzo

Mussorgsky:

Sorochintsy Fair: Gopak

Rachmaninov:

Daisies, Op. 38 No. 3

Lilacs, Op. 21 No. 5

Vocalise, Op. 34 No. 14

arr Zoltán Kocsis

Rimsky Korsakov:

Flight of the Bumble Bee

Schubert:

Wohin? (No. 2 from Die schöne Müllerin, D795)

Tchaikovsky:

Lullaby, Op. 16 No. 1


When the twelve-year-old Sergei Rachmaninov became a piano student of Nikolai Zverev at the Moscow Conservatoire, the boy played duet transcriptions with fellow pupils as part of his general musical education. Tchaikovsky heard and commended them, and (probably inspired by his encouragement, and without instruction) in the summer of 1886 Rachmaninov began his first work as a composer: a piano-duet transcription of Tchaikovsky’s ‘Manfred’ Symphony, now lost. But Rachmaninov continued to transcribe music for the piano, and a selection is recorded here. This album also includes a transcription of Rachmaninov’s Vocalise—the quintessence of the composer’s melodic genius—arranged by Zoltán Kocsis.

“Rachmaninov’s mix of Slavonic wit and melancholy is caught to perfection … a true keyboard aristocrat” Gramophone Magazine

“Unadulterated pianistic joy: Shelley bounds and sparkles through Rachmaninov's gorgeous transformations...Irresistable.” BBC Music Magazine, April 2014 *****

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Cello Encores

Cello Encores


anon.:

Catalan Folksong

arr. Pablo Casals

Bach, J S:

Cello Suite No. 1 in G Major, BWV1007: Prelude

Orchestral Suite No. 3 in D major, BWV1068: Air ('Air on a G String')

arranged by Mischa Maisky for violoncello and piano

with Daria Hovora (piano)

Boccherini:

String Quintet Op. 13 No. 5 in A major, G281: Menuet

Orpheus Chamber Orchestra

Brahms:

Wiegenlied, Op. 49 No. 4 (Lullaby)

arr. Mischa Maisky

with Pavel Gililov (piano)

Bruch:

Kol Nidrei, Op. 47

Orchestre de Paris, Semyon Bychkov

Debussy:

Clair de Lune (from Suite Bergamasque)

Transcr.: A. Roelens - Arr.: Mischa Maisky

with Daria Hovora (piano)

Fauré:

Après un rêve, Op. 7 No. 1

arr. for Cello and Piano by Mischa Maisky

with Pavel Gililov (piano)

Gounod:

Ave Maria

arr. Mischa Maisky

with Pavel Gililov (piano)

Mendelssohn:

Auf Flügeln des Gesanges, Op. 34 No. 2

transcription for Cello and Piano by Mischa Maisky

with Sergio Tiempo (piano)

Poulenc:

Les chemins de l'amour

with Daria Hovora (piano)

Rachmaninov:

Vocalise, Op. 34 No. 14

Version for Cello and Piano

with Pavel Gililov (piano)

Ravel:

Vocalise-étude en forme de habanera

with Daria Hovora (piano)

Saint-Saëns:

Le carnaval des animaux: Le Cygne

Orchestre de Paris, Semyon Bychkov

Schubert:

Ave Maria, D839

with Pavel Gililov (piano)

Tchaikovsky:

Nocturne for cello & small orchestra (or cello & piano), Op. 19 No. 4


“A radiant programme that finds Maisky at his most poetically responsive in a series of classic melodies...Perfect late-evening listening.” BBC Music Magazine, June 2013 *****

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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

GGramophone Magazine

Editor's Choice - Awards Issue 2013

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Tine Thing Helseth: Tine

Tine Thing Helseth: Tine


Bull, E H:

Perpetuum Mobile

Enescu:

Légende

Falla:

Siete Canciones populares españolas

arranged for trumpet and piano by Tine

Glazunov:

Albumleaf for trumpet & piano

Hindemith:

Sonata for Trumpet and Piano

Ibert:

Impromptu for Trumpet & Piano

Kreisler:

Marche miniature viennoise

arranged for trumpet and piano by Tine

Toy Soldiers' March

arranged for trumpet and piano by Tine

Puccini:

Storiella D'amore

arranged for trumpet and piano by Tine

Sole e Amore

arranged for trumpet and piano by Tine

E l'uccellino

arranged for trumpet and piano by Tine

Canto d'anime

arranged for trumpet and piano by Tine

Avanti Urania

arranged for trumpet and piano by Tine

Rachmaninov:

Vocalise, Op. 34 No. 14

arranged for trumpet and piano by Tine

Sommerfeldt:

Divertimento for solo trumpet, Op. 21


A recital disc which solidifies Tine’s place in the core classical world, whilst at the same time maintaining those key elements from “Storyteller” - interest, variety, approachability, whilst showcasing her talents, and incorporating plenty of repertoire that she can tour with.

“The Norwegian trumpeter encapsulates many moods in her choice of repertoire” Financial Times, 2nd March 2013

“Helseth's playing is stylish in every way and there is ready virtuosity when required...Stott obviously identifies with her and both artists achieve striking spontaneity.” Gramophone Magazine, May 2013

GGramophone Magazine

Editor's Choice - May 2013

EMI - 4164712

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Rachmaninov: Variations on a Theme of Corelli, Vocalise & 13 Preludes

Rachmaninov: Variations on a Theme of Corelli, Vocalise & 13 Preludes


Rachmaninov:

Variations on a theme of Corelli, Op. 42

Vocalise, Op. 34 No. 14

Preludes Op. 32 Nos. 1-13 (complete)


Junko Inada (piano)

Acousence - ACO11312

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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:

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:

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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Hush

Hush


Bach, J S:

Anna Magdalene's Notebook: Musette

Barrière, J:

Sonata for 2 cellos, No 10 in G major: Allegro prestissimo

Gounod:

Ave Maria

McFerrin:

Grace

Stars

Coyote

Hoedown!

Good-bye!

Rachmaninov:

Vocalise, Op. 34 No. 14

Rimsky Korsakov:

Flight of the Bumble Bee

trad.:

Little Baby

Vivaldi:

Concerto for 2 Mandolins in G major, RV 532: 2nd movement, Andante


Yo-Yo Ma (cello), Bobby McFerrin (vocalist)

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Fantasies for Bassoon

Fantasies for Bassoon


Elgar:

Salut d'amour, Op. 12

arranged for bassoon & piano

Rachmaninov:

Vocalise, Op. 34 No. 14

arranged for bassoon & piano

Schreck:

Sonata in E flat major, Op. 9

Schubert:

Sonata in A minor 'Arpeggione', D821

arranged for bassoon & piano

Schumann:

Fantasiestücke, Op. 73

arranged for bassoon & piano

Spohr:

Adagio in F major for cello and piano, op. 151

arranged for bassoon & piano


Karen Geoghegan (bassoon) & Philip Edward Fisher (piano)

Chandos signed Karen Geoghegan as an exclusive artist in 2007 following her appearance on BBC TV’s Classical Star programme. This is her fifth recording with the label, and the expressive maturity and sensitivity of her playing have quickly cemented her status as a rising star, Gramophone writing: ‘Name five internationally famous bassoon soloists. Archie Camden, Gwydion Brooke and, er, that’s it. Except I think we shall soon be adding the name of Karen Geoghegan to the roll call.’

On this disc, she is accompanied by Philip Edward Fisher in works by some of the greatest composers of the nineteenth and early twentieth centuries: Schubert, Schumann, Spohr, Rachmaninoff, and Elgar. Yet, with a single exception, namely the Sonata in E flat by Gustav Schreck, none of the works recorded here were originally composed for the bassoon.

One of Rachmaninoff’s best-loved short pieces, the Vocalise was written for wordless voice and piano. Demonstrating the capacities of the voice as a pure instrument, this work is a prime example of the power of melody without the need for words. In this arrangement, the bassoon takes on the role of ‘wordless voice’, which shows off the instrument’s great lyrical qualities to perfection, as does Elgar’s Salut d’amour.

Schumann’s Fantasiestücke was originally composed for clarinet and piano, its three pieces played without a break, with each subsequent piece taking up and developing melodic ideas from the preceding one. The Sonata in A minor, D 821 by Schubert, which remained unpublished and unperformed for decades after his death, is an emotionally complex work, its moods moving from deep melancholy to excited ebullience.

“Geoghegan is probably the best advocate the instrument could have: even though parts of the 'Arpeggione' Sonata (usually heard on cello or viola) don't quite work on the bassoon, as the ear adjusts her exemplary musicianship comes through and triumphs...There's a wonderfully natural quality to Geoghegan's phrasing and expression - especially in the Schumann - and she is partnered adeptly at all times by Philip Edward Fisher.” Classic FM Magazine, December 2011 ****

“the most substantial music comes in the transcription of Schubert's Arpeggione Sonata...It would be foolish to expect the bassoon to offer the emotional depth and richness of tone that can be accommodated on a string instrument, but Karen Geoghegan certainly convinces with the melancholic hue of the first movement.” BBC Music Magazine, February 2012 ****

“There is no clowning here. If anything, the bassoon lends a pleasant dolefulness to the music played on this CD...Even the cello...is not as consistently mellow as a bassoon, when it is played by a musician on Geoghegan's level.” International Record Review, January 2012

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Echoes of Time

Echoes of Time


Kancheli:

V & V for violin and taped voice with string orchestra

Pärt:

Spiegel im Spiegel

with Hélène Grimaud (piano)

Rachmaninov:

Vocalise, Op. 34 No. 14

with Hélène Grimaud (piano)

Shostakovich:

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

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 Nocturne...is 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

GGramophone Magazine

Disc of the Month - March 2011

DG - 4779299

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