Sergei Rachmaninov (1873–1943) – Piano Concertos Nos 2 & 3
Yevgeny Sudbin – BBC Symphony Orchestra, Sakari Oramo
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2017
Жанр: Classical/Orchestral/Piano
Издатель (лейбл): BIS Records
Продолжительность: 01:15:12
Наличие сканов в содержимом раздачи: Буклет PDFТреклист:
Piano Concerto No. 2 in C minor, Op. 18 32’05
1. I. Moderato 10’09
2. II. Adagio sostenuto 10’11
3. III. Allegro scherzando 11’37
Piano Concerto No. 3 in D minor, Op. 30 42’15
4. I. Allegro ma non tanto 16’54
5. II. Intermezzo (Adagio) 10’49
6. III. Finale (Alla breve) 14’24Musicians:
Yevgeny Sudbin, Steinway D Grand Piano
BBC Symphony Orchestra, Sakari Oramo, conductorКонтейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DST64
Количество каналов: 5.0, 2.0
Лог DR
foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2020-05-06 09:38:49
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Analyzed: Yevgeny Sudbin - BBC Symphony Orchestra/ Sakari Oramo / Rachmaninov - Piano Concertos Nos 2 & 3
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DR Peak RMS Duration Track
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DR15 -6.89 dB -27.74 dB 10:15 01-Piano Concerto No. 2: I. Moderato
DR14 -8.13 dB -32.70 dB 10:15 02-II. Adagio sostenuto
DR16 -6.03 dB -27.94 dB 11:55 03-III. Allegro scherzando
DR15 -8.21 dB -30.28 dB 17:01 04-Piano Concerto No. 3: I. Allegro ma non tanto
DR16 -6.19 dB -30.70 dB 10:52 05-II. Intermezzo (Adagio)
DR16 -6.04 dB -27.30 dB 14:55 06-III. Finale (Alla breve)
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Number of tracks: 6
Official DR value: DR15
Samplerate: 2822400 Hz / PCM Samplerate: 88200 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DST64
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Доп. информация: BIS Records BIS-2338 (2017)
Release Date: 2nd Mar 2018
Источник (релизер): AnnabelLee (PS³SACD) https://www.prestomusic.com/classical/products/8402808--rachmaninov-piano-concertos-nos-2-3
Об альбоме (сборнике)
“If this were the first time I had heard the Third Concerto I should count myself fortunate.” (Gramophone, April 2017)
No shortage of recordings of these battle-scarred warhorses – spanning nine decades or so and including the composer’s own accounts (two of the C-minor Concerto) – but between them Yevgeny Sudbin and Sakari Oramo offer medication and resuscitation. Anyone who finds that the opening of Opus 18 can be a portentous affair from most pianists will respond favourably to Sudbin’s non-rhetorical (if arpeggiated, like the composer) approach, part of an impetuous, poised and flexible approach to the first movement that finds him variegated and poetic, abetted by Oramo’s attention to detail and dynamics and the BBC Symphony Orchestra’s warmth and character; whatever the ebb and flow of expression (personal insights) it comes across with persuasion, the musicians rediscovering the score afresh without whimsy. The slow movement is especially lovely – a moonlit love-story (maybe a Brief Encounter) – with some beguiling clarinet traces and intimate strings, Sudbin mercurial when the music quickens. Maybe he’s a little laboured early in the Finale, although the contrasts of material (fast/slow/agile/grand) are absorbed into a whole and the coda evinces a real sense of arrival and achievement.
It’s similar with Piano Concerto 3, an unsullied and convincing look at music that one can grow tired of through over-exposure and/or clichéd renditions. From Sudbin and Oramo (a real partnership that the recorded balance faithfully captures) the opening is innocent yet folksy, leaving enough room for acceleration and without expansive material then seeming to be divorced. Sudbin has unobtrusive yet characterful mastery of the notes, and a varied touch, and there are numerous eloquent woodwind contributions. The first movement exhibits a likeable degree of fantasy (to which Sudbin’s choice from Rachmaninov’s two cadenzas is apt), the slow one has intensity of line and the Finale is given an unusual degree of deportment and light and shade, a magical moment of repose from Sudbin, as well as direction to the finishing post. Both performances are a tonic.
classicalsource.com
Yevgeny Sudbin has taken his time recording Rachmaninov’s works for piano and orchestra. The first issue was way back in 2008 with the original version of the Fourth Piano Concerto, (coupled with the second concerto of Medtner) with the North Carolina Symphony Orchestra under Grant Llewellyn. For the Paganini Variations and Piano Concerto No.1, Sudbin’s recordings were fillers (some fillers!) for Rachmaninov Symphonies with the Singapore Symphony Orchestra and conductor Lan Shui. All were highly praised at the time. Now Sudbin finishes his cycle with concertos Nos. 2 and 3 recorded in London, Yevgeny Sudbin’s home town, with the BBC Symphony Orchestra and chief conductor Sakari Oramo. Despite (or maybe because of) its long gestation and recordings spread across three continents, it’s one of the most notable of the modern cycles.
The opening solo of the Second Concerto is played as marked, not at the now traditional broader tempo. The composer’s marking of moderato and minim = 66 followed by a tempo when the strings enter with the first subject, implies a single speed for the whole passage. But we usually hear portentous slow chords and an increase in speed for the theme. But then Rachmaninov’s recording does something similar, and hitherto only Stephen Hough, in his Hyperion set of the concertante piano works, has really gone back to the score. But now Sudbin is equally strict, and the passage works better if, as here, the pianist establishes the main tempo at the start, because this is not just a series of preludial chords, but the germinal motif of the work. Sudbin’s scrupulous observance occurs throughout the movement, often bringing out some piano detail not so often heard.
Oramo ensures the orchestral part is just as observant too, so we get a real picture of the work come è scritto – or ‘as it is written’, as Toscanini liked to insist. The Adagio sostenuto begins coolly, with a liquid clarinet solo and disarming simplicity from Sudbin, but the passion flowers as the movement proceeds, becoming animated and stirring, with a noble climax in the closing pages with its long string lines. The finale follows the same pattern with a steady tempo (as the metronome mark implies), but with growing excitement and indeed the requisite nobility in the big tune, the reprise of which is satisfying without quite pulling out every stop perhaps. Oramo and the orchestra are superb collaborators too, woodwinds and horn relishing their lyrical moments.
The Third Concerto was the composer’s own favourite of the five concertante works, and he made a famous recording of it with Ormandy, but one with cuts, so that is a memento of a great artist more than a supplement to the score. Once again Sudbin and Oramo proceed from the text, and give another fine performance – some of the orchestral virtuosity needs to match that of the pianist in this work, and the BBC players are splendid. Sudbin again finds a nobility and a dignity in this music that some deny is even there. He plays superbly throughout, and in the big first movement cadenza he opts for the ossia (longer, harder, more dense and chordal) version. Even the composer didn’t record or play that (according to Horowitz, who gave it as the reason he didn’t play it either). Perhaps only the last ounce of temperament or individuality is lacking in the solo part, but that is it to be hypercritical of a fine achievement. Valentina Lisitsa on Decca is a fair modern example of an almost equally scrupulous but more extrovert approach. But this pairing of the two most popular of the Rachmaninov concertos should take its place among the best of recent times.
musicweb-international.com
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发表于 2020-12-8 14:58:14
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