Rachmaninov Edition: Complete Works

Release Date: 9/27/2011
Catalog Number: BRI9071
Number of Discs: 28

Physical Format:

CD
In Stock
$99.99
Notes and Editorial Reviews

Here is the most complete collection of Rachmaninoff 's output ever assembled on disc: from the piano concertos and preludes of worldwide affection and esteem to his many songs and three operas, which are far less known but reveal the heart and soul of their creator, as a Russian first and foremost, whose attachment to his mother country never diminished in decades of homesick exile.

The performers on this set are drawn from both sides of that divide: Earl Wild plays the piano concertos, while the equally maverick conductor Gennady Rozhdestvensky masterminds the symphonies. The Borodin Trio plays the two impassioned piano trios, while another American virtuoso, Garrick Ohlsson, tackles the many transcriptions that the composer made of Chopin, Bach and others, with the major piano works (the sonatas, preludes and Études-tableaux) played by Santiago Rodriguez and Nikolai Lugansky. There are also new recordings of early piano pieces made especially for this set and not previously released. The set is completed by an extended introduction to the composer and his work by the Rachmaninoff authority Julian Haylock on a bonus CD-ROM.

Reviews of some of the original recordings that make up this set:
Piano Concertos

Two caveats for prospective customers: One is that Earl Wild makes the once-standard "traditional" cuts in the finale of the Third Concerto; second is that these classic 1965 performances also are available on the Chesky label in less brilliant but more naturally equalized transfers, albeit spread across three full-priced discs. Chandos, however, offers the better bargain. More importantly, Wild is in dazzling form throughout. You'll rarely hear the First and Fourth Concertos sparkle with equal panache and rhythmic acuity, while the pianist's fusion of poetry and flair add up to a Paganini Rhapsody that leaves just about all stereo versions behind. Jascha Horenstein's incisive, colorful support is a major asset, and the Royal Philharmonic plays beautifully for him. If you don't mind the Third Concerto cuts (or already have Martha Argerich's landmark third), these classic performances only get better with age, and the sonics are still terrific. Go for it, piano fans!

--Jed Distler, ClassicsToday.com

Symphonic Dances, The Bells
"Polyansky's Symphonic Dances is relaxed and lush, with fine solos and generally excellent orchestral playing. In keeping with the overall mood, climaxes are not as highly charged as in several other recordings, but the more exciting ones often turn blatantly brassy (e.g., Järvi), which this performance avoids. Add in Chandos's usual big, solid recorded sound in the spacious but not too reverberant acoustic of the Grand Auditorium of the Moscow Conservatory, and we have an enjoyable rendering. If there is little Russian character in evidence here, we must remember that the work was composed by a US resident for Ormandy and his Philadelphia Orchestra. Their superb 1960 Columbia recording is unmatched, but the slightly tubby sound of Sony's CD transfer may take it out of the running.

The Bells, on the other hand, displays plenty of Russian character, despite its origin as an Edgar Allan Poe poem and having been written in Rome in 1913. Russian voices singing their own language supply both plusses and minuses: Olga Lutsiv-Ternovskaya has a lovely soprano and pours out creamy tone; Leonid Bomstein has that strange Russian-tenor sound, light and dry yet effective."

-- James H. North, Fanfare

The Miserly Knight
"How many operas and other musical works have been inspired by the writings of Alexander Pushkin? The number must be vast and here is another - one of Rachmaninov’s three early stage works. With minor parings and adjustments Rachmaninov used the whole of Pushkin's drama. The scenes of the Miserly Knight flow as a whole. There is little feeling of set-piece arias linked by hum-drum. The sense of narrative is strong as perhaps was to be expected from the composer’s director role at the Bolshoi.

The plot. The Baron is a miser and Albert, his son, lives in shame of his father's tight-fisted reputation. There has been a jousting competition and the Count has had his helmet damaged. In scene 2 the Baron visits the crypt of the castle to add to his treasury of gold: power is wealth no matter what grief it may have cost. The damask musical drapes of this part of the score conjure the subterranean gloom in tones familiar from the first movement of the Second Symphony. The Baron then contemplates his mortality and fears his thriftless son will exhaust his treasure when he is in the grave. Albert asks the Duke to reason with his father so that he will change his ways. Things come to a head when Albert overhears the Baron suspecting Albert of being out to murder him. Albert challenges his father to a duel. The Duke, horrified at this conflict between son and father, banishes Albert. The Baron is at last mortified by his absorption in worldly goods. Burning with shame, he falls dead.

Neeme Järvi reigns in isolated supremacy when it comes to complete cycles of Rachmaninov's three early operas: we leave out of the reckoning the shards and shreds of Mona Vanna recorded on another Chandos CD. I am guessing that the present disc is not a one-off event and that Polyansky will also record the other two: Aleko and Francesca da Rimini. If so he will be doughty competition for Järvi’s set.

This Chandos disc is a fine entry into the lists. Polyansky, at one time given to a rather torpid approach in his Chandos cycle of Glazunov symphonies, here strikes a better balance. The Prelude broods and yet there is a vibrancy in the subservient instrumental lines. His vocal team, all men (there are no female roles in this opera) are uniformly robust. Grivnov is cast from strength and has one of those lean, resinous and rock-steady Atlantov-style heroic Russian voices. Molchanov's more nasal and wheedling style suits the caricature Moneylender role.

The writing recalls Rachmaninov's Second Symphony pretty frequently and there is also a confidently strong, occasionally hysterical, Tchaikovskian presence. The wild-eyed tension rattles along in terms familiar from the finale of Tchaikovsky 4. The grim ending of the opera is typical of the tormented Tchaikovsky."

-- Rob Barnett, MusicWeb International

Monna Vanna
Rachmaninov worked on Monna Vanna—the last of his operatic ventures—between 1906 and 1907, during the burst of creativity that generated the Second Symphony, the First Sonata, and Isle of the Dead. He completed a piano score of the first act and started sketches of the second; but when Maeterlinck refused him rights to the play, he abandoned the score, which remained all but forgotten. In the 1970s, however, Rachmaninov's sister-in-law asked Igor Buketoff to orchestrate the finished act; it was premiered, in English, at Saratoga during the summer of 1984, and it here receives its first recording, also in English, with the same conductor and the same baritone in the central role of Guido.

Rachmaninov and Maeterlinck might seem an odd combination—but Monna Vanna is not as vaporous as Pelléas or Ariane et Barbe-Blue. Indeed, the libretto has a bit in common with the Magda Liven-Orlova text used by Prokofiev a few years later in his unfinished opera, Maddalena (see 13:5). Set in a similarly half-imaginary Renaissance Italy (a convenient generic mise-en-scène for authors who want to bring thematics of erotic cruelty to the surface), if offers a similarly poisonous union of sex, betrayal, psychological torture, and violence, as well as male protagonists who are similarly bound together through the exchange of a woman. True, Monna Vanna has a touch of the enigmatic quality that operagoers in particular are apt to associate with Maeterlinck— capsulized when Marco notes, “How often do we live with those whom we love dearly, when there is much . . . that should be said, that never is revealed.“ But for the most part, the psychological anguish is less obliquely set out than in Pelléas, and the text responds well to Rachmaninov's dark and often broodingly thick colors.

Despite the potentials of the text, though, I'm not convinced Rachmaninov chose to set it in a way that plays to his strengths. It's fundamentally a declamatory opera, in the tradition of Dargomyzhsky, with flat vocal lines and the orchestra largely limited to providing commentary, either through coloristic highlighting or through brief, fairly undeveloped dramatic gestures. Furthermore, what little melody does manage to break through is, curiously, associated with hypocrisy rather than authentic expression. Thus, to the extent that the lyrical is allowed to flower in Guido's apostrophe to Vanna, it represents the husband's calculated attempt to manipulate his wife rhetorically, not some spontaneous expression of his inner feelings; the melodic line is thus self-conscious and carefully controlled. In the end, then, there's little opportunity for Rachmaninov to develop the longer spans that, especially at that point in his career, best exemplified his genius. To reduce the opera's effectiveness further, of course, we've only got the first act—an act that sets up but one side of the complex triangle that fuels the play's dramatic action. The result is a Casablanca without Victor Laszlo.

Still, this is Rachmaninov at his prime, and there are superlative touches: the luminous orchestral halo as Marco describes his rediscovery of a lost boyhood friend; the strikingly impressionistic dream-like choral introduction to the third scene; the tormented rapture to which that scene builds; the luscious orchestral close. The orchestration is idiomatic, too, and the performance is more committed than one excepts in such arcane material. Milnes sings Guido with exceptional authority, and just the right half-comprehending cruelty as he conflates his wife's honor with his own unquestioned possession of her; and his enunciation is so clear that you hardly need to look at the libretto. McCoy catches the curious combination of resigned wisdom and aesthetic softness that marks Guido's father Marco; and in her brief lines, Walker balances Vanna's self-assertion with purity and innocence. The chorus and orchestra seem on top of the music.

-- Peter J. Rabinowitz, Fanfare

Songs
Rachmaninov's songs have attracted many singers over the years, from Lily Pons to Martti Talvela, plus many Russians; few, however, went beyond the half-dozen perennial favorites. Jennie Tourel and Nicolai Gedda gave us substantial selections on records, and Elisabeth Söderström recorded eighty-six songs with Vladimir Ashkenazy; their five LPs have been reissued on three CDs in England. The widest selection on compact disc on these shores has been by Ana Pusar (Fanfare 18:1); baritone Dmitri Hvorostovsky and mezzo Zara Dolukhanova have also been heard from.

As in his recent Mussorgsky song recital, Sergei Leiferkus's dark voice and dramatic vocalism are reminiscent of Boris Christoff; there is no higher praise from this corner. This time Leiferkus is aided by a superior pianist; like Ashkenazy, Howard Shelley is one of the leading exponents of Raehmaninov's piano music, and he contributes much sensitive playing. Recognizing the dual accomplishment, Chandos allows the piano to be heard even at the singer's most impassioned climaxes. Although Leiferkus is unparalleled in the dramatic songs, there are others in which a woman's voice and softer approach are more appropriate. Söderström is a skilled, imaginative artist, and Tourel's haunting voice comes through a half-century-old recording which deserves reissue; Pusar sings in a stentorian manner closer to Leiferkus than to the other ladies.

These thirty-two songs include some from each of Rachmaninov's six published sets, plus seven others published posthumously. The booklet includes reasonable notes and four-language song texts. This is the first disc of a projected complete cycle of Rachmaninov songs which should make a worthy companion to Söderström's set.

-- James H. North, FANFARE [1/1996]

Works on This Recording
1. Concerto for Piano no 1 in F sharp minor, Op. 1 by Sergei Rachmaninov
Performer: Earl Wild (Piano)
Conductor: Jascha Horenstein
Orchestra/Ensemble: Royal Philharmonic Orchestra
Period: Romantic
Written: 1891/1917 ; Russia
2. Concerto for Piano no 2 in C minor, Op. 18 by Sergei Rachmaninov
Performer: Earl Wild (Piano)
Conductor: Jascha Horenstein
Orchestra/Ensemble: Royal Philharmonic Orchestra
Period: Romantic
3. Concerto for Piano no 3 in D minor, Op. 30 by Sergei Rachmaninov
Performer: Earl Wild (Piano)
Conductor: Jascha Horenstein
Orchestra/Ensemble: Royal Philharmonic Orchestra
Period: Romantic
Written: 1909 ; Russia
4. Concerto for Piano no 4 in G minor, Op. 40 by Sergei Rachmaninov
Performer: Earl Wild (Piano)
Conductor: Jascha Horenstein
Orchestra/Ensemble: Royal Philharmonic Orchestra
Period: Romantic
Written: 1926/1941 ; USA
5. Rhapsody on a theme of Paganini, Op. 43 by Sergei Rachmaninov
Performer: Earl Wild (Piano)
Conductor: Jascha Horenstein
Orchestra/Ensemble: Royal Philharmonic Orchestra
Period: Romantic
Written: 1934 ; USA
6. Symphony no 1 in D minor, Op. 13 by Sergei Rachmaninov
Period: Romantic
Written: 1895 ; Russia
7. Symphony no 3 in A minor, Op. 44 by Sergei Rachmaninov
Period: Romantic
Written: 1936/1938 ; USA
8. Symphony no 2 in E minor, Op. 27 by Sergei Rachmaninov
Orchestra/Ensemble: London Symphony Orchestra
Period: 20th Century
Written: 1906-1907 ; Russia
9. Symphony in D minor "Youth" (unfinished) by Sergei Rachmaninov
Conductor: Leonard Slatkin
Orchestra/Ensemble: St. Louis Symphony Orchestra
Period: Romantic
Written: 1891 ; Russia
10. The Bells, Op. 35 by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Period: Romantic
Written: 1913 ; Russia
11. Symphonic Dances, Op. 45 by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Orchestra
Period: Romantic
Written: 1940 ; USA
12. The Rock, Op. 7 by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Orchestra
Period: Romantic
Written: 1893 ; Russia
13. Isle of the Dead, Op. 29 by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Orchestra
Period: Romantic
Written: 1909 ; Russia
14. Capriccio on Gypsy Themes, Op. 12 "Capriccio bohémien" by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Orchestra
Period: Romantic
Written: 1892-1894 ; Russia
15. Scherzo for Orchestra in D minor by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Orchestra
Period: Romantic
Written: 1887 ; Russia
16. Prince Rostislav by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Orchestra
Period: Romantic
Written: 1891 ; Russia
Performer: Maria Lapina (Soprano), Samson Isoumov (Bass Baritone), Leonid Tischenko (Bass), Oleg Kulko (Tenor)
Conductor: Roman Kofman
Orchestra/Ensemble: Donetsk Philharmonic Orchestra
Period: Romantic
Written: 1893 ; Russia
18. The Miserly Knight, Op. 24 by Sergei Rachmaninov
Performer: Vsevolod Grivnov (Tenor), Andrei Baturkin (Baritone), Mikhail Goujov (Bass), Vitaly Efanov (Bass), Barislav Molchanov (Tenor)
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Orchestra
Period: Romantic
Written: 1903-1905 ; Moscow
19. Monna Vanna: Act 1 by Sergei Rachmaninov
Performer: Seth McCoy (Tenor), Sherrill Milnes (Baritone), Blythe Walker (Soprano)
Conductor: Igor Buketoff
Period: Romantic
Written: 1907 ; Russia
20. Francesca da Rimini by Sergei Rachmaninov
Performer: Vitali Tarashchenko (Tenor), Maria Lapina (Soprano), Nikolai Rechetniak (Baritone), Nikolai Vassiliev (Tenor), Vladimir Matorin (Bass)
Conductor: Andrey Chistiakov
Period: Romantic
Written: 1905 ; Russia
21. Vespers, Op. 37 by Sergei Rachmaninov
Performer: Mykhaylo Tyshchenko (Tenor), Olga Borusene (Soprano), Yuri Korinnyk (Tenor)
Conductor: Evgen Savchuk
Period: 20th Century
Written: 1915 ; Russia
22. Liturgy of St John Chrysostom, Op. 31 by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Cappella
Period: Romantic
Written: 1910 ; Russia
23. O mother of God vigilantly praying by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Cappella
Period: Romantic
Written: 1893 ; Russia
24. Chorus of spirits for Don Juan by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Cappella
Period: Romantic
Written: ?1894 ; Russia
25. Panteley the healer by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphony Cappella
Period: Romantic
Written: 1900 ; Russia
26. Spring, Op. 20 by Sergei Rachmaninov
Performer: Kurt Westi (Tenor), Elena Ustinova (Soprano), Jorma Hynninen (Baritone)
Conductor: Dmitri Kitayenko
Orchestra/Ensemble: Danish Radio Symphony Orchestra
Period: Romantic
Written: 1902 ; Russia
27. Russian Songs (3), Op. 41 by Sergei Rachmaninov
Conductor: Valeri Polyanskii
Period: Romantic
Written: 1926 ; USA
28. Choruses (6), Op. 15 by Sergei Rachmaninov
Performer: Tigran Alikhanova (Piano)
Conductor: Valeri Polyanskii
Orchestra/Ensemble: Russian State Symphonic Cappella
Period: Romantic
Written: 1895-1896 ; Russia
29. Scherzo for Orchestra in D minor by Sergei Rachmaninov
Conductor: Leonard Slatkin
Orchestra/Ensemble: St. Louis Symphony Orchestra
Period: Romantic
Written: 1887 ; Russia
30. Songs (14), Op. 34: no 14, Vocalise by Sergei Rachmaninov
Conductor: Leonard Slatkin
Orchestra/Ensemble: St. Louis Symphony Orchestra
Period: Romantic
Written: 1912-1915 ; Russia
31. At the gate of the holy monastery by Sergei Rachmaninov
Performer: Sergei Leiferkus (Baritone), Howard Shelley (Piano)
Period: Romantic
Written: 1890 ; Russia
32. I shall tell you nothing by Sergei Rachmaninov
Performer: Sergei Leiferkus (Baritone), Howard Shelley (Piano)
Period: Romantic
Written: 1890 ; Russia
33. Again you leapt, my heart by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1890 ; Russia
34. C'était en avril by Sergei Rachmaninov
Performer: Alexandre Naoumenko (Tenor), Howard Shelley (Piano)
Period: Romantic
Written: 1891 ; Russia
35. Twilight has fallen by Sergei Rachmaninov
Performer: Alexandre Naoumenko (Tenor), Howard Shelley (Piano)
Period: Romantic
Written: 1891 ; Russia
36. Song of the disillusioned by Sergei Rachmaninov
Performer: Sergei Leiferkus (Baritone), Howard Shelley (Piano)
Period: Romantic
Written: 1893 ; Russia
37. The flower has faded by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1893 ; Russia
38. Do you remember the evening? by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1893 ; Russia
39. Songs (6), Op. 4 by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Alexandre Naoumenko (Tenor), Maria Popescu (Mezzo Soprano), Sergei Leiferkus (Baritone), Howard Shelley (Piano)
Period: Romantic
Written: 1890-1893 ; Russia
40. Songs (6), Op. 8 by Sergei Rachmaninov
Performer: Sergei Leiferkus (Baritone), Alexandre Naoumenko (Tenor), Maria Popescu (Mezzo Soprano), Howard Shelley (Piano), Joan Rodgers (Soprano)
Period: Romantic
Written: 1893 ; Russia
41. Songs (12), Op. 14 by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Alexandre Naoumenko (Tenor), Maria Popescu (Mezzo Soprano), Sergei Leiferkus (Baritone), Howard Shelley (Piano)
Period: 20th Century
Written: 1894-1896 ; Russia
42. Were you hiccoughing by Sergei Rachmaninov
Performer: Sergei Leiferkus (Bass), Howard Shelley (Piano)
Period: Romantic
Written: 1899 ; Russia
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1900 ; Russia
44. Songs (12), Op. 21: no 1, Fate by Sergei Rachmaninov
Performer: Sergei Leiferkus (Baritone), Howard Shelley (Piano)
Period: Romantic
Written: 1900 ; Russia
45. By a new grave by Sergei Rachmaninov
Performer: Sergei Leiferkus (Bass), Howard Shelley (Piano)
Period: Romantic
46. Songs (12), Op. 21: no 3, Twilight by Sergei Rachmaninov
Performer: Alexandre Naoumenko (Tenor), Howard Shelley (Piano)
Period: Romantic
Written: 1902 ; Russia
47. Songs (12), Op. 21: no 4, They answered by Sergei Rachmaninov
Performer: Alexandre Naoumenko (Tenor), Howard Shelley (Piano)
Period: Romantic
Written: 1902 ; Russia
48. Songs (12), Op. 21: no 5, Lilacs by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1902 ; Russia
49. Songs (12), Op. 21: no 6, Loneliness by Sergei Rachmaninov
Performer: Howard Shelley (Piano), Joan Rodgers (Soprano)
Period: Romantic
Written: 1902 ; Russia
50. Songs (12), Op. 21: no 7, How fair this spot by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1902 ; Russia
51. Songs (12), Op. 21: no 8, On the death of a linnet by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1902 ; Russia
52. Songs (12), Op. 21: no 9, Melody by Sergei Rachmaninov
Performer: Howard Shelley (Piano), Alexandre Naoumenko (Tenor)
Period: Romantic
Written: 1902 ; Russia
53. Songs (12), Op. 21: no 10, Before the icon by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1902 ; Russia
54. Songs (12), Op. 21: no 12, How painful for me by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1902 ; Russia
55. Songs (15), Op. 26: no 1, There are many sounds by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
56. Songs (15), Op. 26: no 2, He took all from me by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
57. Songs (15), Op. 26: no 3, Let us rest by Sergei Rachmaninov
Performer: Sergei Leiferkus (Bass), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
58. Songs (15), Op. 26: no 4, Two partings by Sergei Rachmaninov
Performer: Sergei Leiferkus (Bass), Howard Shelley (Piano), Joan Rodgers (Soprano)
Period: Romantic
Written: 1906 ; Russia
59. Songs (15), Op. 26: no 5, Beloved, let us fly by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
60. Songs (15), Op. 26: no 6, Christ is risen by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
61. Songs (15), Op. 26: no 7, To the children by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
62. Songs (15), Op. 26: no 8, I beg for mercy by Sergei Rachmaninov
Performer: Howard Shelley (Piano), Alexandre Naoumenko (Tenor)
Period: Romantic
Written: 1906 ; Russia
63. Songs (15), Op. 26: no 9, Again I am alone by Sergei Rachmaninov
Performer: Howard Shelley (Piano), Joan Rodgers (Soprano)
Period: Romantic
Written: 1906 ; Russia
64. Songs (15), Op. 26: no 10, Before my window by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
65. Songs (15), Op. 26: no 11, The fountain by Sergei Rachmaninov
Performer: Alexandre Naoumenko (Tenor), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
66. Songs (15), Op. 26: no 12, Night is mournful by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
67. Songs (15), Op. 26: no 13, When yesterday we met by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
68. Songs (15), Op. 26: no 14, The ring by Sergei Rachmaninov
Performer: Maria Popescu (Mezzo Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
69. Songs (15), Op. 26: no 15, All things pass by by Sergei Rachmaninov
Performer: Sergei Leiferkus (Bass), Howard Shelley (Piano)
Period: Romantic
Written: 1906 ; Russia
70. Songs (12), Op. 21: no 11, No prophet I by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1902 ; Russia
71. Letter to K.S. Stanislavsky by Sergei Rachmaninov
Performer: Sergei Leiferkus (Baritone), Howard Shelley (Piano)
Period: Romantic
Written: 1908 ; Russia
72. From the Gospel of St John by Sergei Rachmaninov
Performer: Howard Shelley (Piano), Sergei Leiferkus (Baritone)
Period: Romantic
Written: 1915 ; Russia
73. A prayer by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1916 ; Russia
74. Songs (14), Op. 34 by Sergei Rachmaninov
Performer: Sergei Leiferkus (Bass), Alexandre Naoumenko (Tenor), Maria Popescu (Mezzo Soprano), Howard Shelley (Piano), Joan Rodgers (Soprano)
Period: Romantic
Written: 1910-1912 ; Russia
75. Songs (6), Op. 38 by Sergei Rachmaninov
Performer: Joan Rodgers (Soprano), Howard Shelley (Piano)
Period: Romantic
Written: 1916 ; Russia
76. Trio for Piano and Strings no 1 in G minor "Trio élégiaque" by Sergei Rachmaninov
Performer: Rostislav Dubinsky (Violin), Luba Edlina (Piano), Yuli Turovsky (Cello)
Orchestra/Ensemble: Borodin Trio
Period: Romantic
Written: 1892 ; Russia
77. Trio for Piano and Strings no 2 in D minor, Op. 9 "Trio élégiaque" by Sergei Rachmaninov
Performer: Rostislav Dubinsky (Violin), Luba Edlina (Piano), Yuli Turovsky (Cello)
Orchestra/Ensemble: Borodin Trio
Period: Romantic
Written: 1893 ; Russia
78. Pieces (2) for Violin and Piano, Op. 6: no 1, Romanze by Sergei Rachmaninov
Performer: Christian Persinaru (Violin), Nils Franke (Piano)
Period: Romantic
Written: 1893 ; Russia
79. Pieces (2) for Violin and Piano, Op. 6: no 2, Hungarian Dance by Sergei Rachmaninov
Performer: Christian Persinaru (Violin), Nils Franke (Piano)
Period: Romantic
Written: 1893 ; Russia
80. Pieces (2) for Cello and Piano, Op. 2 by Sergei Rachmaninov
Performer: Alexander Ivashkin (Cello), Rustem Hayroudinoff (Piano)
Period: Romantic
Written: 1892 ; Russia
81. Songs (14), Op. 34: no 14, Vocalise by Sergei Rachmaninov
Performer: Alexander Ivashkin (Cello), Rustem Hayroudinoff (Piano)
Period: Romantic
Written: 1912-1915 ; Russia
82. Sonata for Cello and Piano in G minor, Op. 19 by Sergei Rachmaninov
Performer: Yakov Flier (Piano), Daniil Shafran (Cello)
Period: Romantic
Written: 1901 ; Russia
83. Etudes-tableaux (9) for Piano, Op. 39 by Sergei Rachmaninov
Performer: Nikolai Lugansky (Piano)
Period: Romantic
Written: 1916-1917 ; Russia
84. Etudes-tableaux (9) for Piano, Op. 33 by Sergei Rachmaninov
Performer: Nikolai Lugansky (Piano)
Period: Romantic
Written: 1911 ; Russia
85. Preludes (10) for Piano, Op. 23 by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: Romantic
Written: 1901-1903 ; Russia
86. Variations on a theme of Corelli, Op. 42 by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: Romantic
Written: 1931 ; USA
87. Nocturnes (3) for Piano by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: Romantic
Written: 1887-1888 ; Russia
88. Song without words for Piano in d by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: Romantic
Written: ?1887 ; Russia
89. Sonata for Piano no 1 in D minor, Op. 28 by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: Romantic
Written: 1907 ; Russia
90. Preludes (13) for Piano, Op. 32 by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: Romantic
Written: 1910 ; Russia
91. Sonata for Piano no 2 in B flat minor, Op. 36 by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: 20th Century
Written: 1913/1931 ; Russia
92. Morceaux de fantaisies (5), Op. 3 by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: Romantic
Written: 1892 ; Russia
93. Morceaux de fantaisies (5), Op. 3: no 2, Prélude in C sharp minor by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: Romantic
Written: 1892 ; Russia
94. Variations on a theme of Chopin, Op. 22 by Sergei Rachmaninov
Performer: Santiago Rodriguez (Piano)
Period: Romantic
Written: 1902-1903 ; Russia
95. Moments musicaux (6), Op. 16 by Sergei Rachmaninov
Performer: Alexander Ghindin (Piano)
Period: Romantic
Written: 1896 ; Russia
96. Morceaux (7) de salon, Op. 10 by Sergei Rachmaninov
Performer: Michael Ponti (Piano)
Period: Romantic
Written: 1893-1894 ; Russia
97. Midsummer Night's Dream, Op. 61: Scherzo by Felix Mendelssohn
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
Written: 1842 ; Germany
98. Songs (6), Op. 16: no 1, Cradle song by Peter Ilyich Tchaikovsky
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
99. Transcription of Kreisler's "Liebesfreud" for piano by Sergei Rachmaninov
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Post-Romantic
Written: 1921 ; Austria
100. Partita for Violin solo no 3 in E major, BWV 1006: 1st movement, Prelude by Johann Sebastian Bach
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Baroque
Written: 1720 ; Cöthen, Germany
101. Partita for Violin solo no 3 in E major, BWV 1006: 3rd movement, Gavotte en rondeau by Johann Sebastian Bach
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Baroque
Written: 1720 ; Cöthen, Germany
102. Partita for Violin solo no 3 in E major, BWV 1006: 7th movement, Gigue by Johann Sebastian Bach
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Baroque
Written: 1720 ; Cöthen, Germany
103. Die schöne Müllerin, D 795/Op. 25: no 2, Wohin? by Franz Schubert
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
Written: 1823 ; Vienna, Austria
104. L'arlésienne: Suite no 1 - 2nd movement, Menuet by Georges Bizet
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
Written: 1872 ; France
105. Tale of Tsar Saltan: Suite, Op. 57 - Flight of the bumblebee by Nikolai Rimsky-Korsakov
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
Written: 1903 ; Russia
106. Liebesleid by Fritz Kreisler
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
107. Songs (12), Op. 21: no 5, Lilacs by Sergei Rachmaninov
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
Written: 1902 ; Russia
108. Songs (6), Op. 38: no 3, Daisies by Sergei Rachmaninov
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
Written: 1916 ; Russia
109. Morceaux (7) de salon, Op. 10: no 5, Humoresque in G major by Sergei Rachmaninov
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
Written: 1893-1894 ; Russia
110. Morceaux de fantaisies (5), Op. 3: no 3, Mélodie in E major by Sergei Rachmaninov
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
111. Sorochintsy fair: Hopak by Modest Mussorgsky
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
112. Prelude for Piano in D minor, Op. posthumous by Sergei Rachmaninov
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: Romantic
Written: 1917 ; Russia
113. Fragments by Sergei Rachmaninov
Performer: Garrick Ohlsson (Piano), Garrick [Piano] Ohlsson (Piano)
Period: 20th Century
Written: 1917 ; Russia
114. Song without words for Piano in d by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: ?1887 ; Russia
115. Prelude for Piano in F major by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: 1891 ; Russia
116. Pieces (4) for Piano by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: ?1887 ; Russia
117. Oriental Sketch for Piano in B flat major by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: 1917 ; USSR
118. Morceau de fantaisie in G minor by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: 1899 ; Russia
119. Fughetta for Piano in F major by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: 1899 ; Russia
120. Canon for Piano in E minor by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
121. Improvisations (4) for Piano by Sergei Taneyev
Performer: Nils Franke (Piano)
Period: Romantic
Written: 1896 ;
122. Suite for 2 Pianos no 2, Op. 17 by Sergei Rachmaninov
Performer: Ingryd Thorson (Piano), Julien Thurber (Piano)
Period: Romantic
Written: 1900-1901 ; Russia
123. Suite for 2 Pianos no 1, Op. 5 "Fantaisie-tableaux" by Sergei Rachmaninov
Performer: Ingryd Thorson (Piano), Julien Thurber (Piano)
Period: Romantic
Written: 1893 ; Russia
124. Russian Rhapsody for 2 Pianos in E minor by Sergei Rachmaninov
Performer: Ingryd Thorson (Piano), Julien Thurber (Piano)
Period: Romantic
Written: 1891 ; Russia
125. Romance for Piano 4 Hands in G major by Sergei Rachmaninov
Performer: Ingryd Thorson (Piano), Julien Thurber (Piano)
Period: Romantic
Written: ?1894 ; Russia
126. Polka italienne for Piano 4 Hands by Sergei Rachmaninov
Performer: Ingryd Thorson (Piano), Julien Thurber (Piano)
Period: Romantic
Written: ?1906 ; Russia
127. Pieces (2) for Piano 6 Hands by Sergei Rachmaninov
Performer: Ingryd Thorson (Piano), David Gardiner (Piano), Julien Thurber (Piano)
Period: Romantic
128. Duets (6) for Piano 4 hands, Op. 11 by Sergei Rachmaninov
Performer: Ingryd Thorson (Piano), Julien Thurber (Piano)
Period: Romantic
Written: 1894 ; Russia
129. Morceaux de fantaisies (5), Op. 3: no 2, Prélude in C sharp minor by Sergei Rachmaninov
Performer: Ingryd Thorson (Piano), Julien Thurber (Piano)
Period: Romantic
Written: 1892 ; Russia
130. Lachtäubchen (Behr) "Polka de W.R." by Sergei Rachmaninov
Performer: Robert Groslot (Piano)
Period: Romantic
Written: 1911 ;
131. Fragments by Sergei Rachmaninov
Performer: Garrick [Piano] Ohlsson (Piano)
Period: 20th Century
Written: 1917 ; Russia
132. Song without words for Piano in d by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: ?1887 ; Russia
133. Prelude for Piano in F major by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: 1891 ; Russia
134. Pieces (4) for Piano by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: ?1887 ; Russia
135. Oriental Sketch for Piano in B flat major by Sergei Rachmaninov
Performer: Nils Franke (Piano)
Period: Romantic
Written: 1917 ; USSR
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