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Martha Argerich’s playing is more eruptive, and she is using vastly more short-scale (intra-bar) agogics. One limitation in the recording is that it does not reveal the pianist’s dynamic span and relations. She is observing the dynamic annotations much more closely. Note that for the CD recordings above, the YouTube recordings may differ from the CD. In direct comparisons, the interpretation sounds almost boring, and sometimes (e.g., in the Piu mosso section), the piano may feel like dragging behind The “standard” cadenza is a better fit to her interpretation than the heavier alternate. To me, this movement is also more cantabile than any other interpretation, in the true sense of the word. This music sheet has been read 12312 times and the last read was at 2023-08-18 11:57:13 The accompaniment remains relatively compact, sounds legato I personally don’t think pianists should aim to duplicate his interpretation It’s mono only, of course, and there are limitations in how one could capture the sound of the orchestra. Within the same year, by the artist (first name) for a list sorted by the pianist’s last name see below. As far as I could see, he sadly! now is mostly conducting. Ashkenazy’s tempi are substantially below those in any of the other recordings. The Big Tune in the finale is given its full value but is never overblown, even at the very end of the movement. I’m not sure whether the alternate version would have enforced a slower tempo. However, the piano part is certainly excellent, very expansive, very expressive (e.g., in the bars preceding 27), with a fair amount of extroverted virtuosity, but also with really big gestures.
Rachmaninoff skips the 6 bars ( Piu vivo ) up to 28, plus the following 7 bars, annotated meno mosso (Adagio). This music sheet has been read 16898 times and the last read was at 2023-08-22 04:02:33. This music sheet has been read 7727 times and the last read was at 2023-08-22 04:38:11. Kocsis plays this with the same urge as the initial instance, but this time giving it a wonderfully soft touch.
The Alla breve section (starting between 14 and 15) as well as most of the cadenza are very fast, indeed. But for the most part, of course, the composition is dominated by the piano part. He recorded concerto No.2 in 1929 (with Leopold Stokowski), the other concertos he did in 1940 and 1941, Concerto No.3 dates from 1940 (keep in mind that the composer was 67 by that time !). This music sheet has been read 9554 times and the last read was at 2023-08-20 00:33:22. In these five concerted works Lill’s manly and ursine weightiness of delivery complements Rachmaninov ideally. That is mainly because competitions now are often to be recorded, and such recordings tend to be posted on YouTube, as welcome (self-)promotion. At the age of 16 he became the winner of the Competition of the Ukrainian and Moldavian Performing Musicians. The accent is on grandeur and the music blossoms under such craft and philosophy.
After all, the composer had his own, personal skill set (just take the enormous span of his hands, covering 1.5 octaves!); plus, from listening through the 5 recordings here, I get the impression that this concerto allows for an exceptionally wide range of personal views. As Martha Argerich, Yuja plays the “standard” cadenza and again, it is definitely the better fit for her view of the concerto. One limitation in the recording is that it does not reveal the pianist’s dynamic span and relations Within the same year, by the artist (first name) for a list sorted by the pianist’s last name see below Occasionally it is on the border of being a bit superficial in the articulation (maybe that’s caused by the excruciating technical demands in this concerto?). Bar 52: Transition Part 1 Bar 69: Transition Part 2 This ability to bend with the winds of Rachmaninov’s inspiration means that on the one hand we can enjoy his limpid tone in Variation XV and then relish the strength with which he delivers the powerful Variations XIX and XX before the brief, calm coda. The latter is true also for her ff playing in 8 ( Allargando a tempo ). Also, his playing is exceptionally clear and transparent in general. I could not resist and was looking around for that recording. The accent is on grandeur and the music blossoms under such craft and philosophy. This work is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. In Yuja’s part, the downward sextuplet run in the left hand, 6 bars after 51 is truly stunning and beats all other interpretations. Adagio sostenuto Track length 12:00 Album only Album only III. There are lyrical moments as well, of course, but less than in other interpretations That’s intelligent because, as John Pickard points out in his notes, the sonata and the concerto share a number of formal features and I think a listener who is unaware of those features will, in any case, notice a certain stylistic affinity between the two works One may have heard versions with greater surface brilliance but Lill isn’t that kind of artist You can choose which of these to accept, or accept all The almost “Scarlatti-like” clarity and the dynamic balance in the piano part are exceptional, as is Yuja Wang’s ability to expose the inner polyphony in Rachmaninoff’s dense piano texture. It is possible that while Rachmaninoff had no technical issues with the trickiest of passages, but it seems that he used a limited dynamic span, rarely going below mf; also, the orchestra sometimes appears “just loud” . There are a few places where he might have deviated from the score (I did not try registering those). The author assumes no responsibility for external contents referred to in this blog. And he is the only pianist in this comparison who dares playing the more difficult, alternate (“ ossia “) cadenza. His reading of the wistful second movement is particularly impressive. I already had this as an LP box this rerelease is split onto two separate CDs. This concerto, written in 1891 when Rachmaninoff was only 18, is the original version that was later reworked by the composer into a more virtuosic version in 1917 I like her interpretation of Prokofiev’s Piano Concerto No 2 Let’s see how she performs with the Rach 3 on that same CD. We are make sure that every music note was avalaible with preview that you can try for free. Bar 189: Sequence of Bar 181-188 Bar 199-202: Extension of sequence. In section 6, the a tempo (solo) isn’t really, but then, that section is also marked espressivo, later dolce
From listening to the composer’s own interpretation, I don’t think this can possibly be what Rachmaninoff had in mind. This ability to bend with the winds of Rachmaninov’s inspiration means that on the one hand we can enjoy his limpid tone in Variation XV and then relish the strength with which he delivers the powerful Variations XIX and XX before the brief, calm coda. The transition to Piu vivo after 60 isn’t quite harmonic In order to continue read the entire music sheet of Rachmaninoff Piano Concerto No 2 In C Minor Orchestral Reduction Only All Movements you need to signup, download music sheet notes in pdf format also available for offline reading. There are lyrical moments as well, of course, but less than in other interpretations. Bar 189: Sequence of Bar 181-188 Bar 199-202: Extension of sequence That initial “pushed” feeling settles after the first part, and I feel at ease in the Piu mosso part and beyond Martha Argerich’s playing is more eruptive, and she is using vastly more short-scale (intra-bar) agogics. PDF: rachmaninoff piano concerto no 2 in c minor orchestral reduction only all movements pdf sheet music. Autograph manuscript page of Sergei Rachmaninoff's 'Concerto No.4 for piano and orchestra', 1926. He further skips 13 bars from the Meno mosso, located two bars after 52, up to 54 ( a tempo ). All the works written by Rachmaninov for solo piano were played for the first time in the history of Soviet performing art. However, there are tons of recordings around with this cadenza. One may have heard versions with greater surface brilliance but Lill isn’t that kind of artist. We are make sure that every music note was avalaible with preview that you can try for free. Kocsis plays this with the same urge as the initial instance, but this time giving it a wonderfully soft touch. This music sheet has been read 8774 times and the last read was at 2023-08-22 08:05:55. He does not try obscuring any detail by excess use of the pedal. In direct comparisons, the interpretation sounds almost boring, and sometimes (e.g., in the Piu mosso section), the piano may feel like dragging behind. It is interesting to see that the composer makes fluent transitions between duplets and triplets in the right hand, after 30 (the left hand constantly plays triplets here). The latter is true also for her ff playing in 8 ( Allargando a tempo ). The concert with the Rachmaninoff concerto took place in December 1982 in Berlin (the Tchaikovsky concerto was recorded in February 1980). There is enough opportunity to show fast playing throughout the rest of the movement. Some of this may be attributed to Zeitgeist, but one can still deduce that the notation only shows the skeleton of the composition. In the crescendo and ff bars leading into the Moderato section, though, she demonstrates that she also can have a “steely” side, without ever losing her astounding agility. If I have forgotten key recordings, please let me know both tables can be amended. Cantabile version of Theme 2A, played by the Piano. This music sheet has been read 11139 times and the last read was at 2023-08-20 01:49:10. This music sheet has been read 9554 times and the last read was at 2023-08-20 00:33:22. This music sheet has been read 9619 times and the last read was at 2023-08-19 04:59:35.
The accent is on grandeur and the music blossoms under such craft and philosophy. I personally don’t think pianists should aim to duplicate his interpretation. Bar 72: Extract of Theme 1 from Mvt. 1, played by the Violins. Critics of various countries are unanimously praising the originality of the musician’s exceptional pianism and performing manner, impeccable style combined with novel musical approach, virtuosity serving to solve the artistic tasks. In the very virtuosic Poco piu mosso section, the sound is concentrating on the piano, the dialog with the wind instruments is hard to follow. Quickly realized that one can easily get lost even just with this one concerto. The recording technique has its limitations here: the orchestra is sometimes almost covered by the piano. Bar 52: Transition Part 1 Bar 69: Transition Part 2. I would rate Kocsis the highest for the cadenza overall, also Martha Argerich and Yuja Wang have definitive, unique merits hence I’m giving all thee interpretations a top rating for this movement. The Second Sonata, which John Lill plays in the original version rather than Rachmaninov’s 1931 revision, shares a disc with the Third concerto. Bar 81: Transition Part 4. 1st Subject played by Bassoon and lower strings. The music would have profited from a dynamically more balanced approach. Also, I don’t know whether the engineers had the ability to make corrections in the recording. A fragment of the 2nd subject played by the flutes, oboes, solo horn and trumpets. The concert with the Rachmaninoff concerto took place in December 1982 in Berlin (the Tchaikovsky concerto was recorded in February 1980). From listening to the composer’s own interpretation, I don’t think this can possibly be what Rachmaninoff had in mind This music sheet has been read 16898 times and the last read was at 2023-08-22 04:02:33. The author assumes no responsibility for external contents referred to in this blog. Note that for the CD recordings above, the YouTube recordings may differ from the CD. He does not try obscuring any detail by excess use of the pedal. She dares lowering the volume to pp and beyond, where appropriate. This music sheet has been read 2118 times and the last read was at 2023-08-14 15:56:36. In the virtuosic Poco piu mosso section after 32, Kocsis isn’t trying to show off, the piano part is far more harmonic and balanced. Lill’s exemplary technique means that he is equal to all the prodigious technical demands of these works and he is on top of the music intellectually as well. One can’t criticize this interpretation, of course, but one can for instance see how much he meant to have the (often partially hidden) melody exposed within a complex texture, and how much rubato is acceptable in the composer’s view. Bar 124: Theme 2C Bar 137: Transition Bar 151: Closing Section. Ashkenazy plays the solo with lots of warmth, with big gestures; the fast part is clear at this tempo, it can’t be called cold, extroverted virtuosity, for sure The variations, though mainly quite short, are very inventive and always manage to keep the theme in view. The Alla breve section (starting between 14 and 15) as well as most of the cadenza are very fast, indeed. But that may be attributable to the live recording.
