Composer: Sergei Rachmaninov
Works: Piano Concerto No. 1 in F sharp minor, Op.1; Piano Concerto No. 2 in C minor, Op.18; Piano Concerto No. 3 in D minor, Op.30; Piano Concerto No. 4 in G minor, Op.40; Rhapsody on a Theme of Paganini, Op.43
Performers: John Lill (piano), BBC National Orchestra of Wales, Tadaaki Otaka (conductor); Jose Luis Prats (piano), Mexico City Philharmonic Orchestra, Enrique Batiz (conductor); Nikolai Lugansky (piano), State Academy Symphony Orchestra of Russia, Ivan Shpiller (conductor)
Recording: 2 discs, 75:03, 78:34, DDD
Label: Brilliant Classics
Rachmaninov’s concertos and his Rhapsody on a Theme of Paganini stand as pillars of the piano repertoire, embodying the lush Romanticism and technical virtuosity that characterized the composer’s oeuvre. The present Brilliant Classics reissue offers an engaging survey of these works, performed by a diverse array of artists, each bringing their unique interpretative angles to Rachmaninov’s beloved scores. The collection includes the youthful exuberance of the First Concerto and the monumental emotional depths of the Second and Third Concertos, alongside the flamboyance of the Rhapsody.
John Lill’s interpretation of the Piano Concerto No. 1 stands out as a particularly insightful reading. Lill’s nuanced touch reveals the work’s complexity beyond its surface bravura. The finale, with its contrasting themes, is executed with dynamic precision, showcasing both the pyrotechnics and the melancholic undercurrents that are hallmark traits of Rachmaninov’s style. Lill balances the soaring melodic lines with a sensitive approach to the underlying harmonic shifts, particularly in the poignant moments around the 2:15 mark of the finale. Tadaaki Otaka and the BBC National Orchestra of Wales provide a responsive accompaniment, allowing Lill’s artistry to flourish without overshadowing the orchestral fabric.
Conversely, Nikolai Lugansky’s performances of the Third and Fourth Concertos reveal a different facet of Rachmaninov’s music. Lugansky possesses a commanding technique reminiscent of the great Soviet pianists such as Richter and Gilels. His interpretation of the Third Concerto’s first movement cadenza, reflecting Rachmaninov’s own preferences, adds an authentic touch that is often missing in more conventional renditions. However, while Lugansky’s playing is undeniably impressive, the accompaniment under Ivan Shpiller’s direction occasionally falters, lacking the vibrancy and richness of sound that one might expect from the State Academy Symphony Orchestra. The strings, in particular, do not offer the same opulent tone that is typical of the best Russian orchestras, leading to a somewhat uneven listening experience.
Jose Luis Prats’ rendition of the Second Concerto, paired with the Mexico City Philharmonic Orchestra under Enrique Batiz, presents an intriguing contrast. Prats embraces a more straightforward approach, aligning with Batiz’s brisk tempos that invigorate the work. The excitement in the coda of the second movement is palpable, showcasing the orchestra’s enthusiasm. However, the occasional issues with intonation and ensemble coherence do detract from the overall impact, particularly noticeable in the grand eighteenth variation of the Rhapsody, which loses some of its intended grandeur due to a lack of cohesion amongst the players.
The recording quality across this anthology is generally satisfactory, yet it varies in fullness and balance. While Lill’s Nimbus source offers a more rounded auditory experience, Lugansky’s performance suffers slightly from a less vibrant recording, likely a remnant of its Vanguard origins. The lack of extensive liner notes is a missed opportunity for contextual understanding, but the performances themselves do convey the essence of Rachmaninov’s music.
For those who may already possess the more established interpretations by Ashkenazy or Wild, this Brilliant Classics set may not replace them but rather complement a collection. It presents a valuable opportunity for exploration, especially at its budget-friendly price point. The performances, while not without their flaws, provide a rich tapestry of interpretations that illuminate Rachmaninov’s genius. Each artist brings their distinct voice to the works, ensuring that even seasoned listeners may find new insights within these familiar compositions. This set is, indeed, a worthy addition for both the casual listener and the devoted Rachmaninov aficionado alike.
