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Epicurus.com - Rachmaninoff: Piano Concertos Nos. 2 & 3
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List Price: $11.98
Our Price: $10.99
Your Save: $ 0.99 ( 8% )
Availability: Usually ships in 24 hours
Manufacturer: Philips
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Average Customer Rating: 
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Binding: Audio CD
EAN: 0028943275927
Label: Philips
Manufacturer: Philips
Number Of Discs: 1
Publisher: Philips
Release Date: 1991-11-08
Studio: Philips
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Editorial Reviews:
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Byron Janis' celebrated recordings of these two concertos have never sounded better than in this new remastering by Mercury's Wilma Cozart Fine. Talk about recordings usually focuses on the artists and composers, and rightly so, but there are some people in the industry whose names you should know, producers and engineers whose work is as artistically excellent as the performers they record. During the late 50s and early 60s the Fines, husband and wife, created a catalog of recordings, which, when all is said and done, is probably title for title the finest in existence. There isn't a single one that isn't worth hearing, and some, like this one, belong in every collection. --David Hurwitz
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Spotlight customer reviews:
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Customer Rating:
Summary: One of my favorites
Comment: I like how one review of Mr. Janis's performance described that he plays the Rachmaninoff 3rd concerto with "steely acidity."
The way the recording is set up, the piano definitely dominates over the orchestra, but it's still a fantastic recording.
Customer Rating:
Summary: "X" Marks the Spot: A Rich Trove
Comment: You can only preview the first minute of a piece on Amazon. No matter; that's all that's needed to decide that this performance of the Rach 3 is going to be a treasure to enjoy forever. The introductory phrase is mercilessly understated--a logical jackhammer of precision in tone and feeling, like the stare of a cold woman (or man) tearing you apart with the arguments of inexorable logic. Beautiful, in other words.
Byron's playing throughout reaches for--and finds--an amazing balance between emotion and precision, between expression and atmosphere. Arpeggios weave in and out of the orchestral backdrop--breathtaking. Other than some background hiss that is quickly and easily forgotten, this recording is clear and dazzling. Piano and orchestra are perfectly balanced with one another. I take this one over Horowitz '51. The 2nd is great as well, even if I prefer Richter there. If you've never heard the 3rd before, buy this one. If you have, buy this one; you will experience new insights. Stunning.
Customer Rating:
Summary: The definitive recording
Comment: Although this album features two orchestras (LSO and then the Minneapolis Symphony Orchestra) the early 1960s Janis-Dorati partnership produced what is arguably the best single piano & orchestra disk in the catalog and a definitive rendition of these two popular concerti.
While the pace is sometimes stately for the big rolling Rachmaninov themes, the passage work is spritely and the overall effect is one of great energy.
The particular benefit of these early 1960s recording is Wilma Cozart's Mercury Living Presence technique which used a single placement of just three microphones (unlike the modern tendency to "mike" every instrument in the orchestra and then adjust balance concerns in re-mixing). This gives the thrill of being at an actual performance (the "living presence" of the orchestra) but without the coughs and other limitations of a concert recording. Indeed, although the CD is reconstructed from original analog tapes, it's hard to imagine that any recording with the best artist in the world could improve on the sound.
In short, if my house was burning down, I'd run back in for this CD.
Customer Rating:
Summary: my ears don't lie do they?
Comment: I have no reference to compare this recording with, I only have Rachmaninov's 2nd piano concerto played by Richter which I like very much, but I cannot describe what's so good about it.
I don't have enough interest for piano solo or recitals to be able to tell what exactly makes a good pianist (in general and for me personal)
I'm not even sure what I like or not.
Well maybe I like uncomplicated, straightforward piano playing, with a somewhat light, clear touche the best, I'm not that fond of heavy pedal use.
(I like Kempff's Beethoven Concertos with Ferdinand Leitner very much)
But my taste and understanding for piano solo (violin solo as well) has to be developed yet.
For now I'm choosing "uncomplicated playing" as my personal preference...but with not much confidence about it.
These performances by Janis and Dorati are pretty straightforward and I'm pleased that I made a good choice out of many recordings.
Dorati's orchestral accompaniment is forceful, sometimes pretty manic, he constantly breaths in Janis' neck, which is breathtaking.
The sound of the orchestra/recording is close and direct with lots of presence what helpes to get even more involved in the performance.
The performances I heard never gave that sense of commitment in the music Dorati and Janis give.
True, the recording helps a lot and obviously the "old sonics" too...I mean the sound is absolutely fabulous, but you're aware it is an old recording and it does add that bit of authenticity to it.
In Rachmaninov's 2nd concerto I like Richter/Wislocki better, but probably only because of the 1st movement, which is slower - slower than everyone else, for me Richter/Wislocki's tempo feels more natural than Rachmaninov's own and everyone else's faster readings.
Janis/Dorati's Minneapolis Symphony Orchestra however is better than Wislocki's Warsaw Orchestra.
As you noticed I haven't mentioned Byron Janis' playing at all...that's because I simply cannot say anything relevant about it, I have to learn a lot and listen to many pianists to make a valid comment.
The performance itself, as a whole, by Janis and Dorati is excellent, no doubt about it, there must be something seriously wrong with my ears if I am wrong about this.
Customer Rating:
Summary: Classic!
Comment: Definitely a "must-have" performance in piano concerto category. One of a great recordings sonically. Mostly clean throughout the disc, I heard just a few cracking noises during high energy sections.
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