Rachmaninov: Piano Sonata No. 1 in D minor, Op. 28 - CD

This page lists all recordings of Piano Sonata No. 1 in D minor, Op. 28, by Sergey Vassilievich Rachmaninov (1873-1943) on CD. Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Rachmaninov: Piano Sonatas Nos. 1 & 2

Rachmaninov: Piano Sonatas Nos. 1 & 2


Rachmaninov:

Piano Sonata No. 1 in D minor, Op. 28

Piano Sonata No. 2 in B flat minor, Op. 36

Tchaikovsky:

Lullaby, Op. 16 No. 1

arr. Rachmaninov


Rachmaninov started composing Sonata No. 1 Op. 28 in the spring of 1907, in Dresden, whilst also working on his Symphony No. 2 and the opera 'Monna Vanna'. He wrote to a friend on 8th May 1907: “The Sonata is without any doubt wild and endlessly long... No one will ever play this composition because of its difficulty and length”. The composer revealed later that the 1st movement related to [Goethe's] Faust, the 2nd one to Gretchen and the 3rd was the flight to the Brocken and Mephistopheles.

The 2nd Sonata op. 36 is an astounding feat of compositional ingenuity, created out of a single thematic seed. As with several of his works, Rachmaninov felt dissatisfied with the first version of 1913 and eventually revised it in 1931, significantly shortening it and thinning out the texture. The transcription of Tchaikovsky's 'Lullaby' for piano, Op. 16 No. 1, which Rachmaninov made in August 1941, is his last work. It is a remarkable coincidence that one of the very first pieces that he wrote as a 13-year-old in 1886 was the arrangement of another composition by Tchaikovsky.

Described by London’s Classic FM Magazine as a “sensationally gifted” musician of “stunning artistry”, Rustem Hayroudinoff graduated from the Moscow Conservatory, where he studied with Lev Naumov. He was one of the first students (if not the first) from the Soviet Union to study at the Royal Academy, where he is now a professor of piano. He has recorded for various labels including Chandos and Decca. This is his debut for Onyx

“there’s a great deal of high-voltage playing on Rustem Hayroudinoff’s disc. But he always uses his prodigious technique intelligently; there’s no sense he’s ever highlighting the heftiness of the piano writing in a self-regarding way.” The Guardian, 15th June 2017 ****

Released or re-released in last 6 months

Onyx - ONYX4181

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à la russe

à la russe


Balakirev:

Islamey - Oriental Fantasy

Rachmaninov:

Piano Sonata No. 1 in D minor, Op. 28

Stravinsky:

The Firebird: Danse infernale du roi Kastchei

Berceuse from The Firebird

Finale from The Firebird

Tchaikovsky:

Méditation (No. 5 from Morceaux, Op. 72)

Passé lontain (No. 17 from Morceaux, Op. 72)

Scherzo à la Russe, Op. 1 No. 1


Alexandre Kantorow (piano)

Read Presto's complete review of this disc here.

Alexandre Kantorow released his first disc for BIS in 2016, performing Liszt’s piano concertos to critical acclaim: ‘I’m here to tell you that Alexandre Kantorow is Liszt reincarnated’ wrote one impressed reviewer, in Fanfare Magazine. Not yet 20 years old, the French pianist and son of violinist and conductor Jean-Jacques Kantorow now explores his Russian roots, in a recital that opens with Rachmaninov’s weighty First Piano Sonata, inspired by Goethe’s play Faust, and its three main characters, the scholar Faust, his beloved Gretchen and Mephistopheles, the Devil’s emissary. The nostalgic intimacy of Méditation and Passé lointain, from Tchaikovsky’s Op. 72 collection, offers respite from the drama, but tension returns with Guido Agosti’s virtuosic piano arrangement of three extracts from Stravinsky’s Firebird.

Kantorow closes his Russian recital with Mily Balakirev’s ‘oriental fantasy’ Islamey, one of the iconic works of the piano literature. Fiendishly difficult, the piece famously inspired Ravel to write something that would be even harder to play (his Gaspard de la nuit). A committed Russian nationalist, Balakirev himself found the inspiration for Islamey during a journey to the Caucasus when he was introduced to the local music tradition.

“The speed-of-light excursions from one end of the keyboard to another, the density of the writing, and the sheer range of colours (you’ll barely miss the orchestration) which Kantorow conjures from the instrument in the Stravinsky initially had us wondering whether he'd enlisted an extra pair of hands to help out...A recording to treasure.” Katherine Cooper, Presto Classical, 8th June 2017

“an outstanding young artist at work...the early Tchaikovsky Scherzo brims over with panache and relish; and Islamey rivals even Berezovsky for the title of cleanest and most exhilarating account. If Kantarow's Stravinsky and Balakirev show that his fortissimo can shake the chandeliers from the ceiling when he chooses, his Rachmaninov is notably more classical.” Gramophone Magazine, July 2017

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Rachmaninov: Piano Sonata No. 1

Rachmaninov: Piano Sonata No. 1


Rachmaninov:

Piano Sonata No. 1 in D minor, Op. 28

Etudes-Tableaux, Op. 39


Yuri Paterson-Olenich (piano)

In the Etudes-Tableaux Op. 39, among the last pieces Rachmaninov wrote before he left Russia for good in 1917, one can sense the turbulent new era for his country reflected in the innovative stretching of the instrument’s limits, firmly placing the composer in the twentieth century.

Recorded in August 2007 | Time 82:35 | Cover Painting by Aristarkh Lentulov

“Powerful and measured, Paterson-Olenich's playing allows every one of the composer's maelstrom of notes to tell, and the First Sonata's magnificent if sprawling edifice is lit by one revelation after another. …when you listen to the first movement development... and final pages given with such breadth and understanding you are hearing a pianist born for Rachmaninov. The Op 39 Etudes-tableaux, always among the composer's richest offerings, present the same moving force and involvement. ...throughout this entire programme you are made frighteningly aware of Rachmaninov's demons, of his confession that "sometimes I think someone will come down the chimney and murder me".” Gramophone Magazine, September 2009

“there’s something inescapably Russian about the way he plays Rachmaninov; the free-flowing romanticism, the surging tempos, and the waves of colour that can be almost overwhelming in the First Sonata...with a sense of the essential Russian-ness of the music, the darkness and melancholy at the heart of so much of it, despite the glowing magnificence of the more extrovert pages.” Andrew McGregor, bbc.co.uk, 2nd October 2009

GGramophone Magazine

Editor's Choice - September 2009

Prometheus Editions - EDITION007

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Peter Orth plays Scriabin & Rachmaninoff

Peter Orth plays Scriabin & Rachmaninoff


Rachmaninov:

Piano Sonata No. 1 in D minor, Op. 28

Scriabin:

Preludes, Op. 11 (24)


Peter Orth (piano)

American pianist Peter Orth’s second recording for Challenge Classics pairs Scriabin’s 24 Preludes, Op 11 with Rachmaninov’s Sonata No 1. The former pieces have been “a constant companion” since, as a schoolboy, he heard Gina Bachauer play them in Carnegie Hall and now he’s recorded them for the Scriabin centenary in 2015.

Winning First Prize in the 1979 Naumburg International Piano Competition catapulted Peter Orth into the American musical mainstream with a highly acclaimed recital debut in Alice Tully Hall. Not long afterwards he was awarded the Shura Cherkassky Prize by the 92nd Street Y in New York and the Fanny Peabody Mason Award in Boston. Since that time, he has been heard as soloist with the Philadelphia Orchestra and the New York Philharmonic, the Chicago Symphony, as well as the orchestras of Detroit, Montreal, Pittsburgh and Saint Louis.

Since moving to Cologne in 1992, Mr. Orth’s European reputation has grown apace by appearing in such distinguished venues as Amsterdam’s Concertgebouw, London’s Wigmore Hall, and the Klavier Festival Ruhr in Germany. He maintains a special relationship with Italy where he plays regularly. He conducted two concertos from the keyboard with the Orchestra of the Ukraine at Tignano Castle outside Florence where he has been the director of Friends of Music at Tignano. He is the Professor of Piano and Chamber Music at the Hochschule for Music in Detmold, Germany.

“Orth brings out the volatile nature that was always inherent in Scriabin's music…[showing] that the colour of the harmony, the shape of the motifs and the weaving of textures have a distinct, pungent character of their own” Gramophone Magazine, February 2016

Challenge Classics - CC72684

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Rachmaninoff: Piano Sonatas

Rachmaninoff: Piano Sonatas


Rachmaninov:

Piano Sonata No. 1 in D minor, Op. 28

Piano Sonata No. 2 in B flat minor, Op. 36

Prelude Op. 23 No. 4 in D major

Prelude Op. 23 No. 5 in G minor

Prelude Op. 23 No. 6 in E flat major


Xiayin Wang (piano)

Xiayin Wang presents her second disc of piano works by Rachmaninoff, playing the two piano sonatas alongside three of the Op. 23 Preludes. She impressed with the first volume, Gramophone remarking that it featured ‘playing of an awesome clarity and poise’ (Gramophone Choice).

Piano Sonata No. 1 from 1908 was originally inspired by Goethe’s Faust, and follows the model of Eine Faust- Symphonie by Liszt. Although Rachmaninoff abandoned any explicit references soon after starting the Sonata, the influence of Liszt’s work can be heard in its grand three-movement structure and complex emotional trajectory. The symphonic proportions of the first sonata contrast with the compact 1931 revision of Piano Sonata No. 2, which Xiayin Wang performs here. Rachmaninoff cut some 120 bars from the original as well as toning down some virtuosic extravagances and creating clearer textures. Despite this apparent modesty, the rhapsodic expression and emotional breadth so characteristic of Rachmaninoff are abundant in the sonata.

Three miniature masterpieces from Rachmaninoff’s first, Op. 23 set of preludes complete the disc. No. 4 in D major is a pure Andante cantabile while No. 5, one of Rachmaninoff’s bestknown works, is a striding march. No. 6 in E flat major offers another reverie which effectively returns us to the calm of the D major prelude.

“a very impressive disc it is...her technique sounds flawless.” BBC Music Magazine, August 2014 ****

“Chandos’s young pianist Xiayin Wang excels again, affirming not only her phenomenal skill but also her clear affinity with Rachmaninov’s music.” Gramophone Magazine, 22nd July 2014

GGramophone Awards 2014

Editor's Choice

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Chandos - CHAN10816

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Rachmaninov: Piano Sonata No. 1 & Chopin Variations

Rachmaninov: Piano Sonata No. 1 & Chopin Variations


Rachmaninov:

Piano Sonata No. 1 in D minor, Op. 28

Variations on a Theme of Chopin, Op. 22


Zlata Chochieva (piano)

Two rarely played pianistic masterworks by Rachmaninov on one disc. The first Piano Sonata and the Chopin Variations suffer unjustly from the fame of their elder brothers (The Second Piano Sonata and the Corelli Variations), yet they are truly the works of the same genius, in their broad and expansive romantic language, their pianistic glittering and bravura and their true Russian Soul. They are close to the heart of the young Russian pianist Zlata Chochieva, who makes with these pieces an impressive debut on Piano Classics. Zlata’s technique knows no limits, but it is her exquisite musical taste, her innate melodic feeling and sweeping passion that impresses her audience most deeply. The winner of several important Piano Competitions she embarks on an international career.

“the possessor of a comprehensive technique who brings an inner glow to every bar. Her playing is indelibly Russian in its fullness and warmth, backed by a dauntless and easy command. What hallucinatory play of light and shade in Var 2, what lightness and brilliance in the skittering waltz patterns of Var 21.” Gramophone Magazine, March 2013

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Faust: Rachmaninov & Liszt Piano Sonatas

Faust: Rachmaninov & Liszt Piano Sonatas


Liszt:

Piano Sonata in B minor, S178

Rachmaninov:

Piano Sonata No. 1 in D minor, Op. 28


Ketevan Sepashvilli (piano)

Gramola - GRAM98952

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Rachmaninov & Ravel: Piano Works

Rachmaninov & Ravel: Piano Works


Rachmaninov:

Piano Sonata No. 1 in D minor, Op. 28

Ravel:

Sonatine

Miroirs, 5 pieces for piano


Hannes Minnaar (piano)

Boreletti Buitoni artist, Hannes Minnaar studied at the Amsterdam Conservatory and made his international debut as a solo pianist at the Gewandhaus, Leipzig. He has a busy concert schedule performing with Dutch and Flemish Orchestras, but also performs with his own Van Baerle Trio. He was recently described as “A name to watch” by the Observer.

“Refulgent Rachmaninov from a brilliant Dutch pianist. He roots Ravel's Sonatine in classical poise and presents a warm, technicoloured account of Miroirs.” BBC Music Magazine, January 2012 ****

“For his debut CD [Minnaar] displays further attributes as a convincing tonal colourist and ardent Romantic. I was much taken with the sound world Minnaar creates for the Ravel, abetted by the recording - neither too intrusively close up nor too resonantly distant...'Oiseaux tristes' is particularly fine, while the digital challenges of 'Alborada' are deftly addressed...He's a natural talent with a bold streak.” Gramophone Magazine, December 2011

“This is indeed an astonishing debut: the young Dutch pianist Hannes Minnaar manages the prodigious feat of making Rachmaninov’s First Piano Sonata sound not a second too long… Minnaar is faultless in pacing the outer movements to attain coherence of the whole, and the strongest possible sense of direction.” International Record Review, February 2012

“Minnaar's virtuosity needs no comment: we expect that. His musical intelligence, sense of line and structure, delicacy, subtlety of texture and discipline set him apart. His Ravel is muscular and sparkling, his Rachmaninov glowing, meticulous and fervent.” The Observer, 20th November 2011

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Rachmaninov: Piano Sonata No. 1 & Chopin Variations

Rachmaninov: Piano Sonata No. 1 & Chopin Variations


Rachmaninov:

Variations on a Theme of Chopin, Op. 22

Piano Sonata No. 1 in D minor, Op. 28


The combination of Vladimir Ashkenazy and the music of Rachmaninov is one of the iconic partnerships of recorded music, with the piano concertos alone selling millions of copies. In recent years the great Russian pianist and conductor has turned his attention to recording the solo piano music, in recordings that draw on a lifetime of experience as a Rachmaninov interpreter.

“Ashkenazy approaches the works with the generosity and dramatic sweep that has always characterised his piano playing, and his tone is as luminous as ever. But there is nevertheless something effortful about the performances, a sense that this is no longer music Ashkenazy can technically take in his stride.” The Guardian, 2nd February 2012 ***

“this great musician here returns to something like top form. These may be his first recordings of these works but they sound as though they have been in his fingers for a long time...Ashkenazy's playing of [Variation 16] is quite bewitching, yet in Var 20 he shows that he can still scamper around the keyboard with the best of them...This is his most successful disc for some time, a notable adjunct to the renowned Rachmaninov recordings of his youth” Gramophone Magazine, March 2012

GGramophone Magazine

Editor's Choice - March 2012

Decca - 4782938

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Rachmaninov: Piano Sonatas Nos. 1 & 2

Rachmaninov: Piano Sonatas Nos. 1 & 2


Rachmaninov:

Piano Sonata No. 1 in D minor, Op. 28

Piano Sonata No. 2 in B flat minor, Op. 36

original 1913 version

Andante ma non troppo in D minor (Prelude)

Oriental Sketch (1917)

Fragments

Nunc Dimittis

Arranged for piano solo from Vesper Mass – V – ‘Lord, now lettest thou thy servant depart in peace’


Australian pianist Leslie Howard presents the first recording of this coupling of the two Rachmaninov Piano Sonatas featuring the original 1913 version of the Sonata No. 2, regarded as unplayable by performers of the composer’s time. Following the premier performance the devastated Rachmaninov radically simplified the work, but on this release the Sonata can be enjoyed in its original splendour, alongside the mighty Sonata No. 1 of 1907, inspired by a reading of Goethe’s Faust.

The recording also includes four exquisite miniatures, among them three piano pieces composed by Rachmaninov as he was about to leave Russia forever. In his booklet notes, Leslie Howard notes: “He managed, over just two days in November 1917, to write an aching threnody, a defiant bit of true grit, and a little piece of almost unbearable nostalgia.” The last of these four miniatures is the piano solo version of the fifth movement of the Vespers, “unquestionably one of the great masterpieces of Russian liturgical music”.

Highly-renowned internationally, Leslie Howard is one of the most prodigious pianists working today. His passion for new musical experiences shines through in performances which combine a formidable technique with a wealth of scholarship illuminating rare and mainstream repertoire. Dr Howard is an authority on Russian music with important premiere performances of works by Anton Rubinstein, Tchaikovsky, Glazunov and Stravinsky, but he is probably best-known for his 99-disc set of the complete piano music of Franz Liszt, the largest recording project ever undertaken by a solo artist.

Leslie Howard was born and raised in Melbourne, studying at Monash University and focussing on both musicology and performance. He was also educated in Italy and in London where he has lived since the 1970s. With more than 80 concertos in his repertoire, he has played with many of the world’s great orchestras, working with many distinguished conductors, and he maintains an exceptionally busy solo schedule on the international circuit.

“In this beautifully recorded release [Howard] negotiates a persuasive course through the turbulent changs of mood in the first movement [of the First]” BBC Music Magazine, September 2011 ****

“[Howard plays] with terrific panache in Rachmaninov's bold, texturally intricate writing, allied to a sensitive awareness of the rich, varied palette of keyboard colour. He also conveys the music's virile energy, which carries the ear convincingly through those passages that the composer felt could be dispensed with...A performance that is in complete control of the pianistc demands and of the architectural span.” Gramophone Magazine, Awards Issue 2011

Melba Recordings - MR301127

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