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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Joy Alone: Angel Blue

Joy Alone: Angel Blue


Adolphe:

Valley Girl in love

Chapí:

Carceleras from Las hijas de Zebedeo

Cymbala:

He's been faithful

Gershwin:

Summertime (from Porgy and Bess)

Heggie:

A Route to the Sky

Liszt:

O quand je dors (Hugo), S282

Luna, P:

El Niño Judío: De España vengo

Rachmaninov:

How fair this spot, Op. 21 No. 7

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

Vessinje Vodi

Vocalise, Op. 34 No. 14

Strauss, R:

Heimliche Aufforderung, Op. 27 No. 3

Die Nacht, Op. 10 No. 3

Befreit, Op. 39 No. 4

Allerseelen, Op. 10 No. 8

trad.:

Ride On, King Jesus


Angel Blue (soprano), Iain Burnside (piano)

A protégé of Plácido Domingo, Angel Blue has enjoyed recent opera house triumphs in Valencia and at English National Opera. Following her acclaimed Wigmore Hall recital last year, this new Rosenblatt Recital studio recording features songs by Strauss, Rachmaninov, a selection of zarzuelas, and Gershwin’s classic Summertime. She is accompanied by the noted pianist Iain Burnside.

Presenting the major singers of today and the stars of tomorrow, the Rosenblatt Recitals are London's only world-class season of opera recitals. This new partnership with Opus Arte will see 5-6 CDs released per year, based predominantly on studio recordings with occasional bonus live tracks.

“never before has a burn come simply from listening to a vocal recital...you can easily see why she shot to fame at Los Angeles Opera...She’s so sultry, dramatic and spine-tingling. Her manner and tone is so impressive, indeed, that it takes several seconds before you spot the flaw: indistinct words.” The Times, 24th October 2014 ***

Released or re-released in last 6 months

Opus Arte Rosenblatt Recitals - OACD9020D

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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

Released or re-released in last 6 months

Ondine - ODE12492

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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

Hyperion - up to 25% off

Hyperion - CDA68015

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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 *****

DG Virtuoso - 4785413

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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

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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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 ****

Australian Eloquence - ELQ4803607

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Rachmaninov: Works for Cello and Piano

Rachmaninov: Works for Cello and Piano


Rachmaninov:

Pieces (2) for cello & piano (Prelude & Oriental Dance), Op. 2

Cello Sonata in G minor, Op. 19

Prelude Op. 23 No. 4 in D major

Vocalise, Op. 34 No. 14

Melody, Op. 21 No. 9

Spring torrents, Op. 14 No.11

To my children, Op.26, No. 7


Li-wei Qin (cello), Albert Tiu (piano)

Decca - 8898195

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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

Chandos - CHAN10703

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