Rachmaninov’s ‘Piano Concerto No. 3’ is a complex, epic narrative that moves from a simple opening melody to the triumphant apotheosis at its conclusion. The composer ingeniously links motifs, melodies and at times whole sections between the movements, unifying the concerto into a single overarching storyline. In the ‘Variations on a Theme of Correlli,’ Rachmaninov reworks the original theme using his unique harmonic language until there is no trace left of its Baroque or Renaissance origins. Pianist Boris Giltburg was born in 1984 in Moscow and has lived in Tel Aviv since early childhood. He began lessons with his mother at the age of five and went on to study with Arie Vardi.Read more In 2013 he took first prize at the Queen Elisabeth Competition, catapulting his career to a new level. His previous solo Rachmaninov recording was named Gramophone album of the month in June 2016, and more recently his first concerto album won a Diapason d’or for his account of the Shostakovich concertos.
Boris Giltburg’s new Naxos recording of the D minor Concerto with Carlos Miguel Prieto and the Royal Scottish National Orchestra shatters the encrustation of reputational habit, offering instead a vividly imaginative re creation of a score that lives and breathes with irresistible vitality. Giltburg’s approach is fundamentally lyrical, rhetorically apt and, aided and abetted by Prieto and the Scots, sensitive to every marking in the score.
– Gramophone The opening bars of this Third Concerto performance set the scene for a very personal approach to the ones we have already on disc; the whole performance gives us a totally new approach where the choice of tempos is very personal, at times unusually relaxed, at other times are charging headlong. The first movement cadenza is almost improvisatory in every respect, and sets out his credentials as one of today’s most outgoing virtuosos. His finale is full of white-heat moments. The conductor, Carlos Miguel Prieto, is at one with his soloist, while the Royal Scottish National are on fine form. A very attractive account of the Variations on a Theme of Corelli closes the disc. The recorded quality of the concerto is excellent..
Concerto for Piano no 3 in D minor, Op. 30by Sergei Rachmaninov Performer:
Boris Giltburg (Piano)
Carlos Miguel Prieto
Royal Scottish National Orchestra
Period: Romantic Written: 1909; Russia Length: 43 Minutes 34 Secs.
Rach 3April 6, 2019By Ronald Y. See All My Reviews"Ive listened to the Alexis Weissenberg performance for 40 years and became used to its propulsive, steely approach to the concerto. Boris Giltburg, however, presents an interpretation that is like unfolding a beautiful oriental rug that has such richly intricate and complex patterns. The clarity of the playing throughout is wonderful, and Im drawn in to listen again and again to Rachmaninovs creative genius. The power is there, yet its balanced with elegance. I would have liked a bit more forcefulness and presence from the RSNO."Report Abuse
I disagree with L. AckermanOctober 10, 2018By Jude G. See All My Reviews"I am a huge Rach 3 fanatic and rate this alongside the best recordings I've heard. It is beautifully interpreted, although in a completely different manner than others. Clean, romantic to the core and no fuzziness. Not as crisp as Yuja Wang's but the 3rd movement is a nice change from the often rushed versions. Love."Report Abuse
Relaxed to be almost perfunctoryJuly 6, 2018By L. Ackerman (Washington, DC)See All My Reviews"If you like your 3rd Concerto at the verge of controlled-nervous-breakdown, this is not for you. The new recording brings a Gramophone recommendation; still, after decades of listening and reading reviews, I find the respected magazine's choices sometimes odd (perhaps is the British phlegm) The first movement of this performance proceeds correctly, but I did not feel it caught any fire. Unfortunately, the lack of forward propulsion did it for me. A sensation from which I could not recover. The Corelli Variations fare better, but then, this is a work that I hardly love. From the dozens of performances of this, my favorite concerto, which I have collected, I find that, lately, young women pianists have done much better than their male counterparts. At least in approaching the passion. The orchestral sound given to the concerto is not typical of the RSNO spectacular (as recorded by other labels) but it is very good when it comes to the piano itself. The solo piano recording fares much better."Report Abuse