Rachmaninov: Piano Concertos Nos. 2 & 3
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Free Music Notes for Rachmaninov: Piano Concertos Nos. 2 & 3
Free Music Review: Big and lush, btu there's no real commitment
Hit: 3 Stars
At this late date, it strikes me that these two warhorse conertos aren't worth recording unless pianist and conductor really believe in them. Such musicians are rare, because Rachmaninov is the most retro of retro composers, a blend of White Russia under the czars and Hollywood in the age of JOan Crawford. Here we get an odd couple pairing of a hyper-modern conductor and a Russian pianist who is presumably to the manner born. The result is technically all it should be, but there's no real commitment to either work. Salonen in particular is going through the motions, supplying a lush carpet of sound and little more. Within ten bars of the opening to the Second Concerto all rhythmic vitality has been lost, and we are submerged in a murky fog that never lifts.
In all, if you want gorgeous sound, a plush orchestra, and Bronfman's pedigree technique, all are present. But for the real spirit of Rachmaninov, turn to the composer himself or Sviatoslav Richter, and Martha Argerich.
Free Music Review: A Review of Mr. Bronfman's "Allegro Scherzando"
Hit: 2 Stars
Mr. Bronfman's performance of the concerto is technically impeccable, as is the case with all of the pianists today. Scales are even, not a single note is left out or is played without care, and the incredibly speed with which he plays is bound to awe any audience. However, musically speaking, it is questionable.
The opening glissando, and the entire solo introduction, is without much dynamic difference nor heart - however, it is technically perfect: not one note is missed. The inner voices of Ab and G that commence the arpeggios in the introduction are hardly, if not at all, brought out. The marked crescendo in the scale following the arpeggios, which is supposed to provide a dynamic contrast to the soft dialogue between the orchestra and the piano immediately following, is not apparent either. Then begins the piano solo. The inner voices here - the scales and arpeggios - are much too loud in comparison to the melody: Ab-G-Ab-G-F-G-F-Eb-F-Eb... and it sounds as if the entire solo is a single phrase.
To skip to the finale of the movement - the orchestra is much too slow in providing the melody. If one listens to Rachmaninoff's recording, one realizes that he played the finale in a fast tempo, only to contrast brilliantly with the climax at which he slows the tempo - this isn't the case here. And Mr. Bronfman plays the ending much too fast. So fast that even Mr. Cziffra might have raised an eyebrow had he played the composition.
In comparison to what I believe is the best recording of this piece, by Arthur Rubinstein, the performance lacks heart, vigor, logic, and warmth - this concerto is a piece that is supposed to bring out tears in the eyes of the listener, or a rush into his or her heart. However, it is technically perfect. Bravo.