{"id":9362,"date":"2018-09-21T13:02:14","date_gmt":"2018-09-21T13:02:14","guid":{"rendered":"https:\/\/www.pianostreet.com\/blog\/?p=9362"},"modified":"2018-09-23T19:04:07","modified_gmt":"2018-09-23T19:04:07","slug":"an-epic-narrative-boris-giltburg-plays-rachmaninoffs-piano-concerto-no-3","status":"publish","type":"post","link":"https:\/\/www.pianostreet.com\/blog\/piano-news\/an-epic-narrative-boris-giltburg-plays-rachmaninoffs-piano-concerto-no-3-9362\/","title":{"rendered":"An Epic Narrative: Boris Giltburg plays Rachmaninoff’s Piano Concerto no. 3"},"content":{"rendered":"

Named the Mount Everest of piano concertos, Rachmaninoff\u2019s third<\/a> has enjoyed an increasing popularity among performers, piano competition contestants and in concert halls during the last twenty years. Also among recording labels where the long list of <\/b>recordings now is expanded by contributions by a younger generation of top artists.<\/b><\/p>\n

Since Horowitz\u2019s recordings of the concerto set a standard for its overall interpretational conception, many claim that renditions today overlook Rachmaninoff<\/a>\u2019s original intentions which we all can listen to in his own recordings from 1935 and 1940<\/a>. Not least, the composer\u2019s tempi and ideas on dramatic culminations.<\/p>\n

A Touching Attitude<\/h2>\n

The story tells that Gustav Mahler, who conducted the second performance of the concerto with Rachmaninoff himself in New York City, touched the composer’s heart straight away by devoting himself to the concerto until the complicated accompaniment had been practiced to the point of perfection, although he had already gone through a long rehearsal.<\/p>\n

According to Mahler, every detail of the score was important which was an an attitude which was rare among conductors. Rachmaninoff found this very touching.<\/p>\n

A Sensitive New Release<\/h2>\n

One of the latest Rach 3 releases – and our recommendation – is by the Queen Elisabeth Competition winner, pianist Boris Giltburg<\/strong> with Royal Scottich National Orchestra<\/strong> under Carlos Miguel Pietro<\/strong> on the Naxos label (2018). \u00a0As opposed to the strong formal structure of composition which the second concerto displays, the third is much more a “give and take” game which reminds us of the marvels of chamber music and with sharing motifs, melodies and sections between the movements. Thus, Giltburg\u2019s reading is a sensitive and attending one, where the soloist shares material with the orchestra leaning on a strong communicative base rather than muscular bombasm. The lyrical passages are beautifully shaped and exquisitely articulated with the aid of the sonorous sound of the Fazioli grand used in this recording.<\/p>\n