Rachmaninov Complete Solo Piano Music
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Rachmaninov, Fritz Kreisler, Georges Bizet, Pyotr Ilyich Tchaikovsky, Franz Schubert, Modest Mussorgsky, Felix Mendelssohn, Johann Sebastian Bach, Nikolay Rimsky-Korsakov
Label: Classical
Magazine Review Date: 3/1994
Media Format: CD or Download
Media Runtime: 362
Mastering:
ADD
Catalogue Number: SM5K48467
Tracks:
Composition | Artist Credit |
---|---|
Variations on a theme of Chopin |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Variations on a theme of Corelli |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Daisies |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
(9) Etudes-tableaux |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Fragments |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Lilacs |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
(6) Moments musicaux |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Morceau de fantaisie |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
(5) Morceaux de fantaisie |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
(7) Morceaux de salon |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Oriental Sketch |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Sonata for Piano No. 1 |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Sonata for Piano No. 2 |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Pièce |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Polka de W. R. |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
Prelude |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
(24) Preludes |
Sergey Rachmaninov, Composer
Ruth Laredo, Piano Sergey Rachmaninov, Composer |
(3) Sonatas and 3 Partitas, Movement: Partita No. 3 in E, BWV1006 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Ruth Laredo, Piano |
(L')Arlésienne - Suites, Movement: Menuet |
Georges Bizet, Composer
Georges Bizet, Composer Ruth Laredo, Piano |
(The) Tale of Tsar Saltan, Movement: Flight of the bumble-bee |
Nikolay Rimsky-Korsakov, Composer
Nikolay Rimsky-Korsakov, Composer Ruth Laredo, Piano |
(Die) Schöne Müllerin, Movement: No. 2, Wohin? |
Franz Schubert, Composer
Franz Schubert, Composer Ruth Laredo, Piano |
(A) Midsummer Night's Dream, Movement: Scherzo (Entr'acte to Act 2) |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Ruth Laredo, Piano |
(6) Songs, Movement: No. 1, Cradle song (wds. Maykov) |
Pyotr Ilyich Tchaikovsky, Composer
Pyotr Ilyich Tchaikovsky, Composer Ruth Laredo, Piano |
(The) Fair at Sorochintsï, 'Sorochinskaya yarmar, Movement: Gopak |
Modest Mussorgsky, Composer
Modest Mussorgsky, Composer Ruth Laredo, Piano |
Liebesleid |
Fritz Kreisler, Composer
Fritz Kreisler, Composer Ruth Laredo, Piano |
Liebesfreud |
Fritz Kreisler, Composer
Fritz Kreisler, Composer Ruth Laredo, Piano |
Composer or Director: Sergey Rachmaninov, Fritz Kreisler, Georges Bizet, Pyotr Ilyich Tchaikovsky, Franz Schubert, Modest Mussorgsky, Felix Mendelssohn, Johann Sebastian Bach, Nikolay Rimsky-Korsakov
Label: Hyperion
Magazine Review Date: 3/1994
Media Format: CD or Download
Media Runtime: 449
Mastering:
DDD
Catalogue Number: CDS44041/8
Tracks:
Composition | Artist Credit |
---|---|
(5) Morceaux de fantaisie |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: F sharp minor, Op. 23/1 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: B flat, Op. 23/2 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: D minor, Op. 23/3 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: D, Op. 23/4 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: G minor, Op. 23/5 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: E flat, Op. 23/6 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: C minor, Op. 23/7 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: A flat, Op. 23/8 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: E flat minor, Op. 23/9 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: G flat, Op. 23/10 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: C, Op. 32/1 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: B flat minor, Op. 32/2 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: E, Op. 32/3 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: E minor, Op. 32/4 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: G, Op. 32/5 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: F minor, Op. 32/6 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: F, Op. 32/7 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: A minor, Op. 32/8 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: A, Op. 32/9 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: B minor, Op. 32/10 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: B, Op. 32/11 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: G sharp minor, Op. 32/12 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: D flat, Op. 32/13 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Prelude |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(7) Morceaux de salon |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(6) Moments musicaux |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Sonata for Piano No. 2 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Morceau de fantaisie |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Song without words |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Pièce |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Fughetta |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Fragments |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Oriental Sketch |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(3) Nocturnes |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(4) Pièces |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(9) Etudes-tableaux |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Sonata for Piano No. 1 |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Variations on a theme of Chopin |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Variations on a theme of Corelli |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(5) Morceaux de fantaisie, Movement: No. 3, Mélodie in E |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(A) Midsummer Night's Dream, Movement: Scherzo (Entr'acte to Act 2) |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Howard Shelley, Piano |
(The) Tale of Tsar Saltan, Movement: Flight of the bumble-bee |
Nikolay Rimsky-Korsakov, Composer
Howard Shelley, Piano Nikolay Rimsky-Korsakov, Composer |
Liebesleid |
Fritz Kreisler, Composer
Fritz Kreisler, Composer Howard Shelley, Piano |
Liebesfreud |
Fritz Kreisler, Composer
Fritz Kreisler, Composer Howard Shelley, Piano |
(L')Arlésienne - Suites, Movement: Menuet |
Georges Bizet, Composer
Georges Bizet, Composer Howard Shelley, Piano |
(Die) Schöne Müllerin, Movement: No. 2, Wohin? |
Franz Schubert, Composer
Franz Schubert, Composer Howard Shelley, Piano |
(The) Fair at Sorochintsï, 'Sorochinskaya yarmar, Movement: Gopak |
Modest Mussorgsky, Composer
Howard Shelley, Piano Modest Mussorgsky, Composer |
(3) Sonatas and 3 Partitas, Movement: Partita No. 3 in E, BWV1006 |
Johann Sebastian Bach, Composer
Howard Shelley, Piano Johann Sebastian Bach, Composer |
Daisies |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Lilacs |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Polka de W. R. |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
Vocalise |
Sergey Rachmaninov, Composer
Howard Shelley, Piano Sergey Rachmaninov, Composer |
(6) Songs, Movement: No. 1, Cradle song (wds. Maykov) |
Pyotr Ilyich Tchaikovsky, Composer
Howard Shelley, Piano Pyotr Ilyich Tchaikovsky, Composer |
Author: James Methuen-Campbell
The original piano works span some 45 years of the composer's life. The earliest pieces here, the Nocturnes mentioned above, strangely owe allegiance neither to Field nor Chopin, but are very much in the mid-to-late nineteenth-century Russian salon style. The Third, in C minor, has nothing whatever to do with its title. Nicely written too, but still uncharacteristic, are four pieces from 1888, which amply demonstrate that from his early teens the composer had something individual to say. The Melodie in E (not to be confused with that from Op. 3) is memorable for its hypnotic use of piano tone. Hyperion's recording quality can be heard at its very best here; there is real bloom and colour.
Written shortly after his First Piano Concerto in the early 1890s, the Morceaux de fantaisie, Op. 3 bring us to familiar Rachmaninov. The ubiquitous Prelude in C sharp minor is the second number, and here, rather to my surprise, I preferred Laredo's straightforward reading. Shelley tries to do too much with it; he is more effective in the Serenade with its Spanish overtones. Comparing his performance of the Morceaux de salon, Op. 10 with Laredo's, I found that Shelley's overall sense of scale carried far greater conviction. Also, partly due to the better-judged recording, individual notes do not obtrude as they tend to in the over-full and often reverberant Sony recording.
Generally Laredo is served with better sound quality for the Moments musicaux, Op. 16. Here her approach is rather structured and less improvisatory than Shelley's. In the E flat minor, for instance, one feels that it is he who is able to master Rachmaninov's swirling accompaniments the more idiomatically. Laredo certainly has a very secure technique, but, lacking in imagination, she does not respond to nor exploit details in the score. The seldom-heard Variations on a Theme of Chopin (the theme is the Prelude in C minor from Op. 28) is a case in point. Shelley succeeds in bringing the notes to life in a way that eludes the American pianist. For instance, in Variation No. 15, it is he who has the fingers to get around the fleet scherzando writing, leaving his colleague sounding bland and over-cautious.
The first set of Preludes served to strengthen my impressions of the merits of each pianist. This is, of course, far more mainstream repertoire and, as such, easier to assess. To begin with, there is not any real temperamental involvement in Laredo's handling of the music. In the warmly expressive D major Prelude, though her phrasing is 'generous', it does not succeed in expressing very much. Shelley, on the other hand, lends the piece a strong Brahmsian feel and it thus emerges as better focused, especially since the voices are so subtly separated. He manages to transform the C minor from a disciplined study (Laredo) into a restless mood picture.
Moving on to the First Sonata, though the American is able to play the Mephistophelian finale with an uncompromising technical strength, I was not sure how well she really knew the piece. With Shelley the first movement achieves a symphonic stature. This is a piece that is conventionally dismissed as being unwieldy; he convinces one otherwise and allows it to be seen in conjunction more with the composer's orchestral writing.
Within a couple of years Rachmaninov was at the height of his powers and shortly after the Third Concerto he wrote the Op. 32 Preludes. I felt that neither artist produced entirely consistent results here. Shelley is able to conjure up an exquisite, shimmering moonlit scene for the G major, but he is not as monumentally impressive as Laredo in the B minor. However, with him it is always the music that dictates the course of the interpretation, whereas the American tends to shape it according to her predetermined ideas of style. In the two sets of
The English pianist is the outright winner too in the Second Sonata. He draws together the disparate elements of the finale with terrific mastery and shows himself entirely the equal of the 'Horowitz clones' in matters of technique. Laredo is less than secure at times and nowhere near so imaginative. In the Corelli Variations she may convey greater breadth, but here neither pianist is quite in tune with the scope of the work. Shelley is outstanding in the transcriptions, if a little straight-faced.
This Hyperion set is a significant testament to Howard Shelley's artistry. Pianistically impeccable, he understands what Rachmaninov was about. The recorded sound here is never less than serviceable; sometimes excellent. In contrast, Laredo, workmanlike though she is, suffers from a rather boomy piano tone.'
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