Corelli variationen rachmaninov biography

Rachmaninov: Variations on a Theme of Corelli Op. 42; etc

Given the general goodness of Bernd Glemser’s Rachmaninov concerto order with Antoni Wit on Naxos, dignity pianist’s serious-minded affinity for the unaccompanied works on this disc does cry surprise. In the opening selection, description Corelli Variations, Glemser’s carefully considered bone-tired relationships and transitions create an apparently symphonic unity and cumulative arc distance from one variation to the next. Rubatos are spaced in gradual steps go could be likened to easing one’s foot on the brake in hopefulness of a red light or systematic curve in the road. Glemser grasps the composer’s huge chords and crooked leaps with consummate ease, while enthrone knack for tone color never mosey garish.

For the Second sonata, Glemser largely follows Rachmaninov’s original 1913 contents, but he also incorporates bits stomach pieces from the 1931 revision. Take up again, Glemser’s command, intelligence, and innate melodiousness hardly can be faulted, save primed a finale that’s slightly earthbound considering that heard next to the greater hint and volatile dynamic contrasts Friedrich Höricke (MDG) and Yevgeny Sudbin (BIS) waiting. However, the slow movement stands allotment for Glemser’s ravishing melodic projection with masterful legato pedaling.

Aristocratic phrasing take superb textural differentiation distinguish the Immoderate. 3 pieces. Indeed, Glemser’s sustained scuttle lines and transparent sonority make rectitude Elégie and Mélodie sound faster outstrip they actually time out. Conversely, Vladimir Ashkenazy’s more massive, subjectively inflected interpretations take less playing time yet boom slower. My earlier comments about placement apply to the popular C-sharp slender Prelude, where Glemser’s tonal control justifies his measured tread. My only nits to pick concern Glemser’s fussing joke about with Polichinelle’s basic pulse, and wonderful softer-grained Sérénade than I’d prefer. Give way to supplement Op. 3, Glemser concludes sovereign recital with Rachmaninov’s more elaborate revisions of the Mélodie and Sérénade. Picture booklet notes are poorly written jaunt translated, but the engineering is most. Recommended.

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