The Rachmaninov Piano Concertos performed by Vladimir Ashkenazy and the London Symphony Orchestra, conducted by André Previn are among the most iconic recordings in the Decca Classics catalogue. For the first time in over 40 years, the recordings have been remastered in ultra-high quality 96kHz 24-bit audio at Abbey Road Studios.
Legendary Russian pianist Vladimir Ashkenazy is considered the pre-eminent interpreter of Rachmaninov’s music, and as he marked his seventy-fifth birthday (6 July 2012), he recorded a final album of the composer’s music featuring the Seven Pieces (Moments Musicaux) Op.10, three Nocturnes, and ten shorter early works, including an unpublished 'Song without Words'.
A majority of well-known composers have written at least a few chamber compositions in their entire lifetime. The most famous would have to be Mozart, Beethoven, Brahms, and probably Prokofiev. Some, including Respighi and Vaughan Williams, are overlooked or even rejected in today's society. Whether it's because of lack of originality or excessive complexities, these sorts of compositions are always left in the dark. Take Rachmaninov's Cello Sonata, for instance. This 35-minute work doesn't receive the complete recognition it deserves. It's overshadowed by the composer's piano concertos and symphonies, all of which are respectfully first-rate works in their own right.
Although Sergei Rachmaninov considered himself first and foremost a composer, the last two decades of his life found him knee-deep in his “second career” as a touring concert pianist and recording artist. In 1992, RCA Gold Seal brought out all of Rachmaninov’s recorded performances in a 10-disc set, now reprinted as a space-saving budget box.
It's a bit unclear what pianist Vladimir Feltsman means by calling this album A Tribute to Tchaikovsky, or by assertion that the "pieces in this recording were selected to be heard as a single composition"; they come from various parts of Tchaikovsky's career and do not really cohere as a single utterance. Nor are so many Tchaikovsky miniatures usually put together in this way; many of them were works of middling technical difficulty and fell into established patterns, mostly coming from Chopin, rather than getting into the deeper realms of Tchaikovsky's musical or psychological makeup. This said, Russian-American pianist Vladimir Feltsman has created an appealing recital, scaling the music back to chamber dimensions.