The longest Rach 2 I’ve ever heard, but also one of the best. In my opinion, the tempo of the second movement is much too slow, but all three movements are played beautifully, both by Weissenberg and the orchestra. I love that you make videos with the full score instead of just the two-piano reduction, because seeing the score makes it easier to notice all the brilliant details in Rachmaninoff’s orchestration. For example, at 5:21 the violas play the opening theme while the cellos and basses play the march-like theme, which foreshadows the climactic passage at 7:12, where all the strings play the opening theme while the piano plays the march-like theme. And in the infamous meno mosso passage at 30:12, while the piano is noodling away, the strings and winds are playing the third movement’s opening theme very slowly. There are also many beautiful orchestral solos in the piece, most of them for the wind instruments, and these are always played exquisitely. Weissenberg often keeps his playing quiet so that the solo instrument can have the spotlight: for example, the wonderful oboe solo at 4:15, with the piano gently playing its countermelody. The horn solo at 8:55 is too slow for my taste, but gorgeously played. Of course, the opening of the second movement with its flute and clarinet solos (13:13), and the clarinet solo at 18:49. Additionally, all the complex orchestral passages are tight and flawless, such as the opening of the third movement (26:49), the fugue-like passage at 31:47, and the allegro scherzando at 35:24. Weissenberg’s playing is crystal-clear and full of color, with warm tone and huge dynamics. At 2:22, he plays the triplets with wonderful clarity, and then at 2:36 the orchestra creates a thrilling explosion. Similarly, at 3:45 the left hand triplet melody is brought out beautifully, and this clarity is maintained when the melody returns at 3:53. At 4:47 he uses interesting voicing in the left hand. The mysterious fast section of the second movement (20:18) and the cadenza that follows (21:28) are thrilling, with stunning power and tone in the chords at 21:43. In the third movement Weissenberg is amazing. The triplet passage at 27:32, which many pianists struggle with, is astonishingly clear. At 29:19, the gradual buildup of the second theme is brilliantly done. The entire development section, and especially the intense passage at 32:11, is perfect. The small cadenzas at 27:09 and 36:56 are less rushed and more powerful than in other versions. And I agree with you, the coda (38:05) is truly outstanding: clear, powerful, and not rushed, which makes it insanely satisfying to listen to. Thank you so much for giving us this fantastic score video! I can’t wait to see what more amazing recordings you find, especially of concertos. 😊
'Weissenberg often keeps his playing quiet so that the solo instrument can have the spotlight' This is probably something Glenn Gould picked up on when he wrote a little piece about this recording, admiring the chamber music quality of it, if i remember correctly. Sometimes i'm grateful for piano reductions, but in this instance seeing the orchestra is adding a new level of enjoyment and insight.
![Rachmaninoff - Piano Concerto No. 2 [Kissin]](http://i.ytimg.com/vi/ztGO9PAbSqU/mqdefault.jpg)
The longest Rach 2 I’ve ever heard, but also one of the best. In my opinion, the tempo of the second movement is much too slow, but all three movements are played beautifully, both by Weissenberg and the orchestra.
I love that you make videos with the full score instead of just the two-piano reduction, because seeing the score makes it easier to notice all the brilliant details in Rachmaninoff’s orchestration. For example, at 5:21 the violas play the opening theme while the cellos and basses play the march-like theme, which foreshadows the climactic passage at 7:12, where all the strings play the opening theme while the piano plays the march-like theme. And in the infamous meno mosso passage at 30:12, while the piano is noodling away, the strings and winds are playing the third movement’s opening theme very slowly.
There are also many beautiful orchestral solos in the piece, most of them for the wind instruments, and these are always played exquisitely. Weissenberg often keeps his playing quiet so that the solo instrument can have the spotlight: for example, the wonderful oboe solo at 4:15, with the piano gently playing its countermelody. The horn solo at 8:55 is too slow for my taste, but gorgeously played. Of course, the opening of the second movement with its flute and clarinet solos (13:13), and the clarinet solo at 18:49.
Additionally, all the complex orchestral passages are tight and flawless, such as the opening of the third movement (26:49), the fugue-like passage at 31:47, and the allegro scherzando at 35:24.
Weissenberg’s playing is crystal-clear and full of color, with warm tone and huge dynamics. At 2:22, he plays the triplets with wonderful clarity, and then at 2:36 the orchestra creates a thrilling explosion. Similarly, at 3:45 the left hand triplet melody is brought out beautifully, and this clarity is maintained when the melody returns at 3:53. At 4:47 he uses interesting voicing in the left hand. The mysterious fast section of the second movement (20:18) and the cadenza that follows (21:28) are thrilling, with stunning power and tone in the chords at 21:43.
In the third movement Weissenberg is amazing. The triplet passage at 27:32, which many pianists struggle with, is astonishingly clear. At 29:19, the gradual buildup of the second theme is brilliantly done. The entire development section, and especially the intense passage at 32:11, is perfect. The small cadenzas at 27:09 and 36:56 are less rushed and more powerful than in other versions. And I agree with you, the coda (38:05) is truly outstanding: clear, powerful, and not rushed, which makes it insanely satisfying to listen to.
Thank you so much for giving us this fantastic score video! I can’t wait to see what more amazing recordings you find, especially of concertos. 😊
Such a thoughtful analysis!! Appreciate your comment very much ;)
@@Janeahmon It was my pleasure! :)
'Weissenberg often keeps his playing quiet so that the solo instrument can have the spotlight' This is probably something Glenn Gould picked up on when he wrote a little piece about this recording, admiring the chamber music quality of it, if i remember correctly. Sometimes i'm grateful for piano reductions, but in this instance seeing the orchestra is adding a new level of enjoyment and insight.
Beautiful!!!