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작성자워너비 조회 6회 작성일 2021-12-01 16:38:21 댓글 0

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Rachmaninoff: 9 Etudes-Tableaux Op.39 (Lugansky, Hayroudinoff, Sofronitsky)

Rachmaninoff's second set of Etudes-Tableaux is, if anything, even fuller, more finely textured, and darker than the first. If you have not heard of Hayroudinoff (whose critically celebrated recordings are mostly familiar to Rachmaninoff/Tchaikovsky specialists), then you must listen to this, for his playing is spectacular. Lugansky is superb, as always, but Hayroudinoff brings a glorious warmth and vigour to his playing. Where Lugansky often veils the music with impressionistic filigree (a perfectly legitimate approach, as these are study-pictures, after all), Hayroudinoff often (but nowhere near always) opts for clarity and a rhythmic consistency that is extremely compelling. And it goes nearly without saying that his command of timbre and characterisation is excellent. As a treat, I've also uploaded three oldish performances from the Soviet-Russian titan Vladimir Sofronitsky, which really need no description.

A brief description of each Etude-Tableaux follows. Rachmaninoff probably never meant for the specific images underlying each Etude-Tableaux to be publicly known, but he did disclose a few of these to Resphigi in his letters (Resphigi was orchestrating some of the Etudes-Tableaux, and Rachmaninoff thought he could help out), and I mention the relevant image in the description where possible.

No.1 -- A swirling, almost unhinged thing that's vibrating in an odd near-constant climax.
No.2 -- "The Sea and the Seagulls". An impressionist masterpiece, with the LH figurations mimicking the lapping of waves on a shore. If you're an observant listener you'll pick up the Dies Irae running right through this piece.
No.3 -- An incredibly complex Etude-Tableaux, tone-wise: while it starts off sounding angry and frenetic, there are moments of violent sublimity scattered through the piece.
No.4 -- A charming cross between a hopak and gavotte, with lots of harmonic colour.
No.5 -- Possibly the dramatic peak of both the Op.33 and Op.39 sets, in turns passionate, tumultuous, despairing, and somber. The technical difficulties, huge as they are, are matched here by the musical rewards. If you thought Horowitz was the master of this piece listen to Sofronitsky's recording. Richter said a lovely thing about this piece: “Although I love listening to it I avoid playing such music as it makes me feel completely naked emotionally. But if you decide to perform it, be good enough to undress”.
No.6 -- "Little Red Riding Hood and the Wolf". A brilliant study in jagged contrasts. Again, you must listen to Sofronitsky playing this.
No.7 -- If No.5 is the dramatic peak of the Etudes-Tableaux, this might be the emotional nucleus of the sets: a march transforms into a cacophonous blaze of the composer's much-loved bells.
No.8 -- A lyrical meditation on double notes, featuring some very beautiful counterpoint. Rachmaninoff quotes from Scriabin's 5th Sonata near the end.
No.9 -- A march, but then calling this a march does it a serious disservice. The counterpoint is ingenious, the harmonies striking and lush, the range of colors employed breathtaking. Can't imagine a more perfect way to end this set.

Lugansky:
No.1 -- 00:00
No.2 -- 03:03
No.3 -- 10:04
No.4 -- 12:37 [Outside of Prokofiev, yet to encounter a more dramatic gavotte than this.]
No.5 -- 16:15
No.6 -- 21:31
No.7 -- 24:16 [L. handles the climax unbelievably well: 30:18 - 31:03]
No.8 -- 31:58
No.9 -- 35:13 [The build-up beginning from 37:49 is glorious]

Hayroudinoff:
No.1 -- 38:53
No.2 -- 42:18
No.3 -- 48:45 [H. makes this piece sound deeply melodic, something which I thought was impossible]
No.4 -- 51:43
No.5 -- 55:32 [I love how H.deliberately understates the opening a little, before unleashing that massive recapitulation at 58:15]
No.6 -- 01:00:18 [Note H.'s accents in the LH]
No.7 -- 01:03:08
No.8 -- 01:09:45 [A nice contrast to the dreamy vapour of Lugansky's rendition.]
No.9 -- 01:13:05 [A must-listen: all of H.'s pianistic strengths are on display here.]

Sofronitsky:
No.4 -- 01:17:05 [R. skips the second repeat]
No.5 -- 01:19:33 [Listen do this. Seriously: if you listen to no other recording of no other Etude-Tableaux, you should listen to this.]
No.6 -- 01:24:12 [Probably still the most exciting rendition I've come across.]
c t : you need a prize for most thoughtful/poetic/informative/intellectual video description
i. t. : all three pianists are very big interpreters, but Lugansky plays so that you do not like to hear another pianist after him. Unique!
Mr Kitrid : Man, I wish I could hear Rachmaninoff's performance of no 5.
Tharius : Incredibly beautiful and perfectly composed. The music shines down as if from heaven.
Ade Wenn : I have not yet heard a completely successful rendition of No. 7, I don't think neither of these two pianists understands the spirit of the piece in all its depth. For me studying this piece has been one of the most extraordinary experiences in life, it is a work that lets one (when thoroughly studying and playing it) into a truly otherworldly realm in a depth I have not met elsewhere in music (I don't mean there weren't other works that can do that too, surely there are some). A piece that can give you unique insights and change you.

For not a complete analysis but just a couple of remarks, Lugansky makes in the first part sforzandi that aren't written on the score and I don't understand them at all, there should not be such "shouting" (except for 26:04), that's nothing of the substance of the story being told there.

The whole section from poco meno mosso (27:38) is commonly most misunderstood among interpreters in this piece and it is also by these two: Hayroudinoff, even more than Lugansky, thinks "OK, this where the étude begins" and takes it 'molto piú mosso' instead of what the score clearly tells. A totally unthinkable artistic choice. I think the challenge here is of course not to play it fast (it isn't even hard to play fast at all) but to play it instead slowly, strivingly, languishingly, like a long, desperate wandering in the wilderness, lost and spiritually starving. (That is VERY hard to achieve pianistically.)
From there can rise a mighty and supernatural apotheosis and transfiguration (climbing to which starts at 30:19, stepping to a purely spiritual level at 30:29, "transfiguration" at 30:40). It just won't work with Lugansky's, let alone Hayroudninoff's tempo, eg. the chords at 30:29 are being just rushed through and they mean not much of anything, they won't "open the heavy gates to the heaven" of 30:40 (which is also rushed through!) so to say. The 30:40 part should feel like taking a look somewhere where a mortal being isn't allowed to go! It is not of this world.
Like the 30:40 part, already those 30:29 chords should feel irreal, shocking, in every way unbelievable and very powerful after the long pianissimo part. They won't do that if you haven't really been totally exhausted by this long, agonising "Dark Night of the Soul" wandering.

The job of the musician is always to make sense of the score and figure out which big picture to paint out of it, ie. what is the story that the composer has wanted to tell. The Op. 39/7 is so strange and one of its kind that it's maybe not surprising that it is rarely understood, maybe as it is thought of as an étude and typically played too fast. What it asks artistically and spiritually is as demanding as anything can be in the piano repertoire, it asks one to dive unbelievably deeply into its realm in order to construct it appropriately, highlight the right things and really make the story work.
And the answer, how to make sense of this music is not to try to make it easier or more comfortable to listen to in any way. It should be a shocking and exhausting and only in a very excruciating way rewarding experience to listen to this piece. Nothing of an easy listening. And no purely enjoying the musical content or "empowering oneself" but investigating one's spiritual inner and contemplating the sacred. (I would very rarely use this expression but I think, here it is appropriate.)

Lugansky understands the architecture quite well per se, but he is still hasting and doesn't take the time to make all necessary arguments meaningfully, so I just don't believe what he's saying. There's unnecessary anger, the "wandering" part isn't meaningful, the apotheosis isn't credible and thus the slowly fading and shriveling ending (as the "gates of heaven" close again) can't be truly abysmal, as it should, either. Of Hayroudinoff nothing much better to say, only the first part I liked better at times.

Seong-jin Cho / Rachmaninoff:Piano Concerto No. 2 in C minor, OP. 18 (12 DEC 2018)

Finnish Radio Symphony Orchestra (Hannu Lintu)

2018-12-12
Helsinki
Helsinki Music Centre - Musiikkitalo

Sergueï Rachmaninov: Piano Concerto n°2 in C minor, Op.18
Wwwwwwww : 이 연주는 영상미까지 완벽함. 라흐마니노프의 차가운 우울감을 돋보이게 하는 파란색 조명의 무대와 성진초의 네이비색 수트까지 갓벽,, 심지어 공연한 곳이 추운 겨울의 핀란드라는 것까지,,, 힘들때마다 찾아오는 영상 그리고 그런 나를 위로해주는 성진초
Maria Dolores Teles : Muito bonita e encantadora essa peça e executada com maestria. Orquestra sinfônica excelente!
Que venham mais peças desse compositor!
hatchegg80 : the bass on the piano tuned so well, even the opening bars were arresting
뭐왜뭐 : 겨울에 찬바람 맞으면서 새벽에 들으면 눈물 줄줄 나는 곡. 힘들 때 들으면 서글픈 선율사이에서 느껴지는 따스함이 참 위로가 되는 곡. 처음 듣고 너무 감동받아서 클래식에 관심 가지게 된 어마어마한 곡. 라흐마니노프도 조성진도 그저 대단하다
Carlos Galán celular : Extraordinaria interpretación de esta obra maestra de Sergei Rachmaninoff. Seong-jin Cho un genio y el interprete del clarinete espectacular

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Doomin KIM : 생상스가 자신의 곡들을 연주한 녹음도 있고요, 드뷔시도 남아있고, 라벨도 남아있어요. 또 유명한 작곡가들 뿐만 아니라 현대적으로 연주가 바뀌기 전의 연주자들의 녹음을 소개해 주시는 것도 좋을듯 해요.. 레오폴드 고도브스키, 이그나츠 프리드만, 모리츠 로젠탈, 파데레프스키, 애밀 본 사우어, 알프레드 코르토, 조세 비안나 다 모타, 에구엔 달베르트, 호르초브스키 (19세기 말에 태어나 101살까지 사신분) 등 리스트의 제자, 또는 당대에 인정받던 음악가들의 연주를 들어보면 지금과는 상당히 다르기에.
dw cscsc : 진짜 리스트의 실제 연주는 어느 정도였을지 상상도 안 간다
Wallace Choi : 이런 녹음 듣다보면 바흐나 모차르트, 베토벤께서 연주하는 본인 곡들은 어떤 느낌일지 너무 궁금
기범스 : 이보다 더 완벽하게 칠수는 없다 원곡자가 확실히 느낌을 잘살리네요 리스트도 파가니니 연습곡 하나라도 녹음하고 죽지 ㅠㅠ 너무 아쉽네요 리스트는 얼마나 엄청날지..
nag1 : 1903년 10월 모스크바에서 녹음된걸 소니가 복원한건데 당시 녹음기술 생각하면 엄청나게 깨끗하게 된거죠

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