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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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)

Atoll - ACD106

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Rachmaninov: Transcriptions & Arrangements for Organ

Rachmaninov: Transcriptions & Arrangements for Organ


Rachmaninov:

Étude-Tableau, Op. 39 No. 9 in D major

transcribed & arranged for organ

Variations on a theme of Corelli, Op. 42

transcribed & arranged for organ

Fuga in D minor (1891)

transcribed & arranged for organ

Prelude Op. 32 No. 11 in B major

transcribed & arranged for organ

Vocalise, Op. 34 No. 14

transcribed & arranged for organ

Symphonic Dances, Op. 45

transcribed & arranged for organ


Jeremy Filsell (the Fred J. Cooper Memorial Organ Verizon Hall, Kimmel Center for the Performing Arts Philadelphia, USA)

"As a pianist, I have always been drawn to Rachmaninov's music through its sheer grandeur of line, its contrapuntal beauty, its composer's innate and callisthenic understanding of keyboard textures and indeed the considerable technical demands his music makes. Rachmaninov is the definitive pianist's pianist" Jeremy Filsell

Jeremy Filsell, a world-renowned authority and performer on both the organ and piano, taps into his lifelong love of the music of Rachmaninov to create this programme of new transcriptions and arrangements for the organ, centred on the Symphonic Dances Op. 45.

“I enjoyed this disc immensely and am particularly glad to have heard the Symphonic Dances played so skilfully and sensitively by this fine musician. Jeremy Filsell could not do a finer job with these arrangements…He is never merely showy, but always at the service of the music. He receives a first rate recording that gives the organ space to reveal its wide dynamic range but retains an impact and detail.” The Classical Reviewer, 22nd February 2015

“I didn’t realise this CD would be quite the find that it was; this is a transcription that works almost as if the music was written for the organ itself…Jeremy Filsell is a superb pianist and one of the greatest organists and he’s chosen one of the greatest instruments, the huge Dobson organ...the colours that he brings out are wonderful.” CD Review, 11th April 2015

“an excellent disc and greatly enjoyable for those who like their Rachmaninov with a twist.” MusicWeb International, 13th April 2015

“The [organ] in Philadelphia's Verizon Hall…has such a stunning sonic presence, one that, under Jeremy Filsell's masterful technique, has sufficient tonal resonance to constantly refresh the ear. Every corner of its kaleidoscopic majesty is thoroughly explored…among many lovely moments are the Mutation stop masquerading as an alto sax…and the cheeky 'klaxons', given out on a trumpet stop. The electrifying conclusion [to the Symphonic Dances], including the three pedal pipes of the 64ft stop, is a resounding success.” Gramophone Magazine, May 2015

“In his devotion to Rachmaninoff, Filsell, in this outstanding recording, places on display an intoxicating combination of colouristic imagination, virtuoso technique and brilliant musicianship – I am sure the composer would greet Filsell’s Symphonic Dances with the same ‘hallelujah’ he appended to the completed score.” Choir & Organ, May 2015 *****

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Masterpieces in Miniature

Masterpieces in Miniature


Debussy:

La plus que lente

Delibes:

Cortege de Bacchus from Act III, Sylvia

Delius:

On Hearing the First Cuckoo in Spring

Dvorak:

Legends, Op. 59: No. 6 in C sharp minor

Fauré:

Pavane, Op. 50

Grieg:

Våren, elegiac melody for strings, Op. 34 No. 2

Ives, C:

The Alcotts

arr. Brant

Litolff:

From Concerto symphonique, No. 4 Op. 102: Scherzo

Yuja Wang (piano)

Mahler:

Blumine (original 2nd movement of Symphony No. 1)

Rachmaninov:

Vocalise, Op. 34 No. 14

Schubert:

Rosamunde, D797: Entr'acte No. 3

Sibelius:

Valse Triste, Op. 44 No. 1


On ‘Masterpieces in Miniature’, Michael Tilson Thomas and the San Francisco Symphony offer an exquisite recording of miniature masterpieces, brief but brilliant pieces by some of the world’s favourite composers, including Litolff’s Scherzo electrifyingly performed by pianist Yuja Wang.

This exquisite recording from the Grammy award-winning partnership of Michael Tilson Thomas and the San Francisco Symphony is proof that great things come in small packages. Featuring a thrilling performance of the Scherzo from Litolff’s Concerto symphonique No. 4 by virtuoso pianist Yuja Wang, alongside pieces by Debussy, Dvorák, Fauré, Grieg, Mahler, Rachmaninoff and others, ‘Masterpieces in Miniature’ is a must-have collection of short pieces by some of the world’s favourite composers that will delight casual listeners and aficionados alike. “These pieces were haunting, unforgettable”, explains MTT. “They seemed to explore the realms of vanished emotions, like wistfulness. They seemed like elusive and charming recollections of long ago.”

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Rachmaninov: Monna Vanna (Act 1) & Songs

Rachmaninov: Monna Vanna (Act 1) & Songs


Rachmaninov:

Monna Vanna: Opera in one act

Moscow Conservatory Opera Soloists: Evgeniya Dushina, Vladimir Avtomonov, Dmitry Ivanchey, Edward Arutyunyan, Mikhail Golovushkin

Moscow Conservatory Students Choir, Moscow Conservatory Students Symphony Orchestra, Vladimir Ashkenazy

At my window, Op. 26 No.10

Soile Isokoski (soprano) & Vladimir Ashkenazy (piano)

Night is sorrowful, Op. 26 No.12

Soile Isokoski (soprano) & Vladimir Ashkenazy (piano)

Lilacs, Op. 21 No. 5

Soile Isokoski (soprano) & Vladimir Ashkenazy (piano)

The Rat-Catcher, Op. 38 No. 4

Soile Isokoski (soprano) & Vladimir Ashkenazy (piano)

Vocalise, Op. 34 No. 14

Soile Isokoski (soprano) & Vladimir Ashkenazy (piano)

How fair this spot, Op. 21 No. 7

Soile Isokoski (soprano) & Vladimir Ashkenazy (piano)

Sleep, Op.38, No. 5

Soile Isokoski (soprano) & Vladimir Ashkenazy (piano)


Rachmaninov’s rarely heard, and unfinished opera, Monna Vanna is recorded here in a newer edition by Gennadi Belov and led by Vladimir Ashkenazy, an iconic artist and expert in Russian music.

This recording of Monna Vanna is a world première recording of the sung Russian version – the language in which Rachmaninov originally intended the opera to be performed.

Rachmaninov wrote Act 1 of Monna Vanna in 1907, whilst also completing some of his major works: Symphony No. 2 and his first piano sonata. Rachmaninov never completed the work and it fell into oblivion until it was finally premièred in New York, 1984.

The Second part of this disc features the Finnish soprano Soile Isokoski. She records seven songs by Rachmaninov – including the hauntingly beautiful Vocalise – and is accompanied by Ashkenazy on piano.

“Ashkenazy and his forces inject considerable dramatic impetus into the music...this is a tantalising disc of a what-might-have-been, Vladimir Avtomonov's rich, fluid baritone bearing the brunt of the action.” Gramophone Magazine, Awards Issue 2014

“It’s characteristic mature, if not memorable, Rachmaninov, well sung by students. If the songs will entice collectors, completists will have to have the Monna Vanna.” Sunday Times, 3rd August 2014

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If You Could Read My Mind

If You Could Read My Mind


Bach, J S:

Trio Sonata No. 6 in G major, BWV530

Bernstein:

Candide - Overture

Carpenter, C:

Cello Suite Elaboration (after Bach, BWV1007)

Music for an Imaginary Film - Song paraphrases

Dupré:

Variations sur un Noël, Op. 20

Piazzólla:

Oblivion

Rachmaninov:

Vocalise, Op. 34 No. 14

Scriabin:

Piano Sonata No. 4 in F sharp major, Op. 30


The Los Angeles Times described Cameron as “one of the rare musicians who changes the game of his instrument… He is a smasher of cultural and classical music taboos. He is technically the most accomplished organist I have ever witnessed… And most important of all, the most musical.”

A virtuoso composer-performer unique among keyboardists, Cameron’s approach to the organ is smashing the stereotypes of organists and organ music while generating a level of acclaim, exposure, and controversy unprecedented for an organist.

His repertoire – from the complete works of J. S. Bach and Cesar Franck, to his hundreds of transcriptions of non-organ works, his original compositions, and his collaborations with jazz and pop artists – is perhaps the largest and most diverse of any organist.

He is the first organist ever nominated for a GRAMMY® Award for a solo album 2009, the Telarc debut album "Revolutionary", released in 2008

About the Touring Organ:

Cameron is one of the first artists to ever build his own dream instrument - an organ that doesn't work with pipes but is a digital organ with sounds from instruments all over the world, digitalized through a new process. The organ was built to Cameron’s own specifications in collaboration with American digital organ pioneers, Marshall and Ogletree.

About the repertoire:

The album includes classical favorites known world-wide, as well as famous pop songs from the 1960s and 70s. All pop songs stem from Cameron's childhood/young adult memories and have a special meaning to him (born 1981). "Music for an imaginary film" is a composition by the artist himself and this is the world-premiere recording.

“This is Carpenter's debut recording on the [International Touring Organ]...which, despite the organist's claim to the contrary, seems designed to show off the instrument rather than illuminate the music...I doubt if any organist in history has equalled Carpenter's technique...but purely aurally these visual sleights of hands and feet have no impact.” Gramophone Magazine, August 2014

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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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Hyperion - CDA68015

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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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GGramophone Magazine

Editor's Choice - Awards Issue 2013

Onyx - ONYX4116

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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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$16.75

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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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