Born in 1934, Agustin Anievas is an American pianist
who specialised in the music of Rachmaninov, amongst others.
This set is made up of different recordings made in London in
the late 1960s and early 1970s.
With virtuosity to spare, Anievas throws himself into
the challenge of these works and it’s obvious that, technically,
the music holds no fears for him. However, virtuosity isn’t
enough and Anievas fails to show any real sympathy with the
works. He isn’t helped by some lacklustre accompaniments and
occasional dull sound.
Indeed, it is very hard to find anything to praise in
this set because of the shortcomings of the performances. The
first disk is the best (Concertos 1 and 4 and Paganini Rhapsody)
with some fine playing – especially in the filigree work. The
famous 18th variation is very well handled, never
falling into the trap of going over the top. But this isn’t
enough. Likewise the complete Preludes. Technically fine playing,
but there’s nothing in the interpretations to set the pulse
racing.
There are many fine performances in the current catalogue
of all these works and all are preferable to this issue. For
the complete set of the concertante works, pride of place, naturally,
goes to Rachmaninov himself, recorded, with the Philadelphia
Orchestra conducted by Leopold Stokowski (opp. 18 and 43) and
Eugene Ormandy (opp. 1, 30 and 40), between 1929 and 1940. This
is music and virtuosity welded together in some of the greatest
pianism you’re ever likely to hear. These performances are in
a class by themselves (RCA 090266 16582).
Chandos can boast two fine sets. Earl Wild with the Royal
Philharmonic Orchestra, conducted by Jascha Horenstein, recorded
for the Reader’s Digest in 1965 and given excellent digital
remastering by Ralph Couzens – these have always been slightly
controversial interpretations but they have a very special sweep
and verve which I find irresistible (CHAN 8521/2). More recently
(1989 and 1990), Chandos recorded Howard Shelley with the Scottish
National Orchestra (as it then was), conducted by the great
Bryden Thomson (CHAN 8882/3).
For separate recordings I would recommend the following:
Julius Katchen in the 2nd Concerto (with the New Symphony Orchestra and Anatole Fistoulari) and Rhapsody
(with London Philharmonic Orchestra and
Sir Adrian Boult) [DECCA 475 7221 (8CDs)], Vladimir Horowitz
in any of his five recordings of the 3rd Concerto
– with the London Symphony Orchestra, conducted by Albert Coates
(rec 30 December 1930) [NAXOS HISTORICAL 8.110696]; with the
new York Philharmonic-Symphony, conducted by John Barbirolli
(live, Carnegie Hall, New York, 4 1941 – coupled with Tchaikovsky
1st Concerto - live 31 March 1940) [Appian Publications &
Recordings APR5519]; with the Hollywood Bowl Orchestra, conducted
by Serge Koussevitzky (live, Hollywood Bowl, 31 August 1950)
[AS Disc: AS 550 or Iron Needle: IN 1398]; with the RCA Victor
Symphony Orchestra, conducted by Fritz Reiner (recorded 8 and
10 May 1951) coupled
with the 2nd Sonata and some small pieces [RCA
Victor: 7754-2-RG] and with the New York Philharmonic, conducted
by Eugene Ormandy [live, Carnegie Hall, New York, 8 January 1978) [RCA
Victor 09026
63681 2] and for the 4th Concerto go no further than
Michelangeli (with the Philharmonia Orchestra, conducted by
Ettore Gracis, recorded 1957, coupled with the Ravel G major
Concerto) (EMI CLASSICS 0724356725829).
There’s one final disk I’d like to mention: the 2nd
Concerto played with real fire and passion by William Kapell,
recorded live with Bernstein and the New York Philharmonic on
18 February 1951 and coupled with Khachaturian’s Concerto in
a 1944 live performance, with the Philadelphia Orchestra and
Ormandy. This is absolutely unmissable. (Music and Arts CD-1109).
For me, Ashkenazy outplays everyone in the Preludes (Decca
00289 475 8238) – essential for any collection of Rachmaninov’s
piano music.
Bob Briggs
