Boris Berezovsky - Rachmaninov: Préludes '2008
| Artist | Boris Berezovsky Related artists |
| Album name | Rachmaninov: Préludes |
| Country | |
| Date | 2008 |
| Genre | Classical Piano |
| Play time | 01:17:50 |
| Format / Bitrate | Stereo 1420 Kbps
/ 44.1 kHz MP3 320 Kbps |
| Media | CD |
| Size | 250 mb |
| Price | Download $2.95 |
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Tracks list
Tracklist 01. Prelude En Ut Diese Mineur Opus 3 No. 2, Lento 02. Prelude No. 1 En Fa Diese Mineur, Largo 03. Prelude No. 2 En Si Bemol Majeur, Maestoso 04. Prelude No. 3 En Re Mineur, Tempo Di Minuetto 05. Prelude No. 4 En Re Majeur, Andante Cantabile 06. Prelude No. 5 En Sol Mineur, Alla Marcia 07. Prelude No. 6 En Mi Bemol Majeur, Andante 08. Prelude No. 7 En Ut Mineur, Allegro 09. Prelude No. 8 En La Bemol Majeur, Allegro Vivace 10. Prelude No. 9 En Mi Bemol Mineur, Presto 11. Prelude No. 10 En Sol Bemol Majeur, Largo 12. Prelude No. 1 En Ut Majeur, Allegro Vivace 13. Prelude No. 2 En Si Bemol Mineur, Allegretto 14. Prelude No. 3 En Mi Majeur, Allegro Vivace 15. Prelude No. 4 En Mi Mineur, Allegro Con Brio 16. Prelude No. 5 En Sol Majeur, Moderato 17. Prelude No. 6 En Fa Mineur, Allegro Appassionato 18. Prelude No. 7 En La Majeur, Moderato 19. Prelude No. 8 En La Mineur, Vivo 20. Prelude No. 9 En La Majeur, Allegro Moderato 21. Prelude No. 10 En Si Mineur, Lento 22. Prelude No. 11 En Si Majeur, Allegretto 23. Prelude No. 12 En Sol Diese Mineur, Allegro 24. Prelude No. 13 En Re Bemol Majeur, Grave At his best, Boris Berezovsky’s gaunt sonority and incisive fingerwork create an edgy, coruscating sound-world akin to what Horowitz, Weissenberg, and Gavrilov have achieved in Rachmaninov Preludes. Telling proof of the pianist’s nervous energy can be found in his pushing of Op. 32 No. 2’s central climax, Op. 32 No. 8’s supple filigree offset by sudden dynamic surges, plus his terse, headlong treatment of slower, more lyrical selections (Op. 23 Nos. 1, 4, & 10; Op. 32 Nos. 10 & 13). Paradoxically, Berezovsky scales down Op. 32 No. 1’s whirling figurations to more intimate, subjective dimensions than usual. My main reservations concern Mirare’s boxy engineering, plus a not-so-colorful concert grand with an ugly, non-resonant top register. Consequently, Berezovsky’s ferocious grasp of Op. 23 No. 2’s polytextural interplay and truck-sized chords comes off like an orchestra in a broom closet. Yet we must also blame some of the aural fatigue on the pianist’s tendency to pound when the music grows loud (the famous Op. 23 No. 5 March, for example). Among single-disc complete Rachmaninov Preludes editions, Vladimir Ashkenazy’s, with its tonal warmth and caring musicianship, remains a durable point of reference.