BaL 9.01.21 - Rachmaninov: Piano Concerto no. 3 in D minor

[Nick Armstrong]

.

I can't quite compute that the Schumann requires more digital acrobatics than the Rach.
I've actually conducted the Schumann with a chamber orchestra and professional soloist, but can't quite imagine 'getting away with' Rach3 and the same forces.

I don’t think he was talking about digital acrobatics. More about ‘getting it right’ in a broader way (and about the requirements on the pianist by a pianist-composer being “easier” - in a high-level sense - on fingers & memory)

[Ein Heldenleben]

I don’t think he was talking about digital acrobatics. More about ‘getting it right’ in a broader way (and about the requirements on the pianist by a pianist-composer being “easier” - in a high-level sense - on fingers & memory)

I can’t play either really - the Schumann looks a lot easier on the page but when you try to “have a go “ it’s surprisingly difficult. Even the opening with sixths ands thirds has disaster potential. The slow movement of Rach 3 has a very very difficult faster section with lots of repeated notes. The chordal cadenza of the first movement is hugely challenging . The main big tune of the final movt appears in several separate guises all of which pose different Technical challenges - like playing the theme in octave with a counter melody on the middle fingers . The second theme of the final movement irritatingly appears for the second time in a different key so its two sets of muscle memory to master and you need big hands as well as absolute security in the left hand which is doing downward leaps to a black note Bflat (rather like the notorious opening of the Hammerklavier in reverse but 10 times) . Oh yes and if you fancy it he does an ossia version of the final octave cascade in quavers rather than triplets that I’ve never heard any pianist play live presumably because by that point your arms are dropping off. It’s an absolute nightmare....but worth having a stab because you emerge with even more regard for those who can play it!

[Nick Armstrong]

Seen [Simon Trpčeski] play it and other things. He's a terrific artist with great personality (his encores are often great fun)

The performance I recorded off-air and enjoyed a lot recently is coming up again tonight at half two on TTN:

02:31 AM
Sergey Rachmaninov (1873-1943)
Piano Concerto No 3 in D minor, Op 30
Simon Trpceski (piano), Beethoven Academy Orchestra, Vasily Petrenko (conductor)

Worth seeking out on Sounds

[Ein Heldenleben]

The performance I recorded off-air and enjoyed a lot recently is coming up again tonight at half two on TTN:

02:31 AM
Sergey Rachmaninov (1873-1943)
Piano Concerto No 3 in D minor, Op 30
Simon Trpceski (piano), Beethoven Academy Orchestra, Vasily Petrenko (conductor)

Worth seeking out on Sounds

Thanks for the tip . Will do..

[Alison]

Perhaps this is one for the ‘experts’ thread.

I see that on MusicWeb the Hough is described as a ‘deplorably superficial’ account.

[Ein Heldenleben]

Perhaps this is one for the ‘experts’ thread.

I see that on MusicWeb the Hough is described as a ‘deplorably superficial’ account.

Who by? I’d give anything to be able to play that superficially....

Update - a few minutes googling reveals the reviewer to be Christopher Howells. If the reviewer is the same CH who has recorded as a pianist the complete works of Stanford I would expect music web to have at least mentioned that in the Hough review.Isn’t he , to some extent in the same line of business?
Just to show that criticism has its limitations Kevin Sutton , also in music web, gives Hough recording of the month status
“Extremely high quality” says Kevin . So who is right? It just shows what experience has taught me - two highly trained people can listen to the same performance - one will be left cold , the other in transports of ecstasy...

[Barbirollians]

Striking to see how much Max Harrison disliked the Kocsis and how much Bryce Morrison loved it in Gramophone reviews .

I am with BM - a dazzling refreshing account .

[underthecountertenor]

I'm old enough to remember D O N when he had a weekly slot on the 'drive time' programme now taken over by an Irish windbag - D O N was always entertaining and often went to a studio grand to illustrate a point.

Is it necessary to be so unkind?

[Ein Heldenleben]

Is it necessary to be so unkind?

As I come from a long proud line of Irish Windbags can I say that Sean R is an excellent presenter with a great way with words?

[underthecountertenor]

As I come from a long proud line of Irish Windbags can I say that Sean R is an excellent presenter with a great way with words?

I like the idea of 'Irish Windbag' being taken as a compliment. The Windbag's Windbag?

[Ein Heldenleben]

I like the idea of 'Irish Windbag' being taken as a compliment. The Windbag's Windbag?

Actually kissed the Blarney Stone when I were nipper....very frightening as you are partly hanging over a void if I remember aright.

[Nick Armstrong]

I see that on MusicWeb the Hough is described as a ‘deplorably superficial’ account.

Where’s that, Alison? Do you have a link, please?

My use of MusicWeb’s clunky search facilities only yielded this positive review:

http://www.musicweb-international.com/classrev/2004/Oct04/Rachmaninov_Hough.htm

I’d very much like to read the contrary view....

[gurnemanz]

Where’s that, Alison? Do you have a link, please?

My use of MusicWeb’s clunky search facilities only yielded this positive review:

http://www.musicweb-international.com/classrev/2004/Oct04/Rachmaninov_Hough.htm

I’d very much like to read the contrary view....

It's here.

[Nick Armstrong]

It's here.

Many thanks.

[Nick Armstrong]

I see that on MusicWeb the Hough is described as a ‘deplorably superficial’ account.

Well, I have to say that having now listened twice to the Hough/Dallas version, I’m definitely inclined to that view. I found a lot of the stylistic approach to be inappropriate to how I hear this piece, indeed the word that occurred to me was “trivialising”. Too much of the rubato seemed fussy to me, merely decorative. I didn’t get at all any of the structural overview which seemed to be the main thing that drew DON to the performance.

I’ll be passing on any further listening to this “BaL winner” (with some sadness that there are listeners out there who might think that this is the best way to play the piece)