Rachmaninov's opus 1, his first piano concerto, deserves to be heard more often. The opening bars have that heroic sound that raises the hair on the back of the neck. Indeed those first moments rank alongside those of the Grieg and Tchaikovsky piano concertos for their ability to thrill. Ashkenazy's breathtaking playing on a superb piano is matched by that of the Concertgebouw Orchestra under Haitink's direction.
This recording gives a fascinating portrait of the approach to Bruckner’s music developed by Bernard Haitink and the Royal Concertgebouw Orchestra over their many years of working together.
The 1st & final movements of Brahms’s 3rd Symphony contain some of the most dramatic music he was to compose, yet both end serenely & enclose 2 beautiful inner movements. The equally exquisite Serenade No 2, unusually scored for wind instruments, violas, cellos & double basses, was 1 of his own personal favourites & both receive superb performances under Bernard Haitink in the 3rd part of his internationally acclaimed LSO Live Brahms cycle.
Loaded with German Romanticism & including variations on a Bach cantata, Brahms’ final symphony is a remarkable example of his mastery of symphonic composition. A rich, warm work that builds on a sense of movement & intensity right up to the final bars. This release also represents the completion of Bernard Haitink’s celebrated LSO Live Brahms cycle that has included the symphonies, Double Concerto, Tragic Overture & Serenade No 2.
Bernard Haitink & London Symphony Orchestra started their Bruckner cycle with this album. Haitink’s previous releases on LSO Live (Beethoven: Complete Symphonies & Triple Concerto & Strauss: Ein Alpensinfonie) are very good, & now he continues this line. Bernard Haitink is internationally renowned for his interpretations of Bruckner and is widely recognised as the world’s leading Bruckner conductor.
The Piano Concerto No. 2 is also Beethoven in classical mode, using an orchestra that would have suited a Mozart piano concerto equally well. What marks it out from other classical works of the time are the solo outbursts in each of the first two movements. In the first, a contrapuntal cadenza with exciting modulations takes us into new and more individual territory, in which the keyboard becomes absolutely the composers focus; in the second we are treated to some powerful, improvisatory solos. The last movement, a rondo with a highly rhythmic main theme in 6/8, manages to introduce a descending chromatic progression towards the end and closes with the piano oscillating rapidly between major and minor chords (a light hearted conclusion to the piece, but one which taxes every pianist).