Rachmaninov Piano Works
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Rachmaninov, Felix Mendelssohn
Label: Connoisseur Society
Magazine Review Date: 6/1994
Media Format: CD or Download
Media Runtime: 70
Mastering:
DDD
Catalogue Number: CD4194
Tracks:
Composition | Artist Credit |
---|---|
Variations on a theme of Corelli |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(9) Etudes-tableaux, Movement: No. 6 in E flat minor |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(9) Etudes-tableaux, Movement: No. 8 in G minor |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(6) Moments musicaux, Movement: Presto, E minor |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(6) Moments musicaux, Movement: Adagio sostenuto, D flat |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: E flat, Op. 23/6 |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: A minor, Op. 32/8 |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: G sharp minor, Op. 32/12 |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(7) Morceaux de salon, Movement: No. 2 in A, Valse |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(7) Morceaux de salon, Movement: No. 3 in G minor, Barcarolle |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
Lilacs |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
Daisies |
Sergey Rachmaninov, Composer
Oxana Yablonskaya, Piano Sergey Rachmaninov, Composer |
(A) Midsummer Night's Dream, Movement: Scherzo (Entr'acte to Act 2) |
Felix Mendelssohn, Composer
Felix Mendelssohn, Composer Oxana Yablonskaya, Piano |
Author: Bryce Morrison
Oxana Yablonskaya (Russian-born but American-based) offers a richly comprehensive selection of Rachmaninov's music, taking us through fiery intricacy, veiled melancholy and exultant triumph alike with masterly ease. Yet as this record progressed I became increasingly aware of how one piece sounded much like another. The stress is on a superb overall view rather than on more finely detailed qualities (the individual sound-world and emotional idiosyncrasy of each Prelude, Etude-tableau and so on). In the Corelli Variations (Yablonskaya's single large-scale offering) there is a fierce alternative to Rachmaninov's prescribed piano and Tempo di Menuetto (Variation 3) and Variation 18 gets off to a tame start for forte and Allegro con brio. Otherwise the responses, despite much elasticated rubato, are straightforward, if less acute than either Shelley or Ashkenazy.
Yablonskaya has a notable poetic success with the popular G sharp minor Prelude, moulding its phrases with all the freedom and flexibility Rachmaninov demands but rarely receives, and she can whip up a daunting storm when the composer's virtuosity is in full spate (the fourth Moment musical or the E flat minorEtude-tableau from Op. 33). Yet she lacks the delicacy and acuteness of several other celebrated Rachmaninov players. I particularly missed Moura Lympany's lyric grace in the E flat Prelude, Op. 23, Moiseiwitsch's inimitably spun line in Lilacs and, of course, the Scherzo from the Mendelssohn-Rachmaninov Midsummer Night's Dream. And her way with the Tchaikovsky-influenced Waltz from Op. 10 hardly erased memories of Nadia Reisenberg's affection and stylistic piquancy on an old long-deleted Nixa recital. None the less, even when Oxana Yablonskaya is inclined to paint in broad rather than subtle brush strokes she is, clearly, a formidable pianist, and she has been finely recorded.'
Yablonskaya has a notable poetic success with the popular G sharp minor Prelude, moulding its phrases with all the freedom and flexibility Rachmaninov demands but rarely receives, and she can whip up a daunting storm when the composer's virtuosity is in full spate (the fourth Moment musical or the E flat minor
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