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░ ░
-░░+ Rachmaninov Piano Concerto No.2 - Paganini Rhapsody (Naxos 5 +░░-
,▓░ ░▓,
▒░ Release Date:04-02-2007 ░▒
▒*░ ░░ Encoder:Lame v3.91 ░░ ░*▒
░░▓_ █▒ Company:Naxos ▒█ _▓░░
|▒ ▓▓ N▒▒ Genre:Classical ▒▒N ▓▓ ▒|
░░u▒▓ ░█▒ Year:1988 ▒█░ ▓▒u░░
▒▓▒ ▓░+▒ Ripper:Scherzo ▒+░▓ ▒▓▒
░▒░ ▓▓#▓▒ Supplier:Scherzo ▒▓#▓▓ ░▒░
░ ▓▒▒▒░ Songs:04 ░▒▒▒▓ ░
▒█▓░ Khz/Bitrate..44,1/ 192 ░▓█▒
▓██░ ░ ░ ░██▓
█▓▒ ▒, Track List: ,▒ ▒▓█
█ ▒▒ ▒▒ █
▓ ░▓ ▒▒░ 01 - rachmaninov - piano concerto no.2 in c min [11:10] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 02 - rachmaninov - piano concerto no.2 in c min [11:18] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 03 - rachmaninov - piano concerto no.2 in c min [11:38] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 04 - rachmaninov - rhapsody on a theme of pagan [23:57] ░▒▒ ▓░ ▓
░ ▒ _▒░ ░▒_ ▒ ░
▒▒ ▓▓ ▓▓ ▒▒
░▒█ ▓▒u░ Total Length : [58:03 min ░u▒▓ █▒░
░▒▒ ░ ▒▓█ █▓▒ ░ ▒▒░
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▒░░▒ ▓▓█ Description: █▓▓ ▒░░▒
▒░▒ # # ▒░▒
▒░ ▒ - Jenö Jandó, Piano ▒ ░▒
▒░ ▒ - Budapest Symphony Orchestra ▒ ░▒
▒░ ▒ - György Lehel, Director ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The Russian composer and pianist Sergey Rachmaninov ▒ ░▒
▒░ ▒ was born in 1873, the son of aristocratic parents. ▒ ░▒
▒░ ▒ His father's improvidence, however, was to lead to a ▒ ░▒
▒░ ▒ change in the fortunes of the family, when ▒ ░▒
▒░ ▒ increasing debts led to the sale of one estate after ▒ ░▒
▒░ ▒ another, followed by removal to an apartment in St. ▒ ░▒
▒░ ▒ Petersburg. It was in that city that Rachmaninov, at ▒ ░▒
▒░ ▒ the age of nine, entered the Conservatory on a ▒ ░▒
▒░ ▒ scholarship. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The subsequent separation of his parents and failure ▒ ░▒
▒░ ▒ in general subject examinations was to bring about ▒ ░▒
▒░ ▒ Rachmaninov's move to the Moscow Conservatory, where ▒ ░▒
▒░ ▒ he was under the strict supervision of Nikolay ▒ ░▒
▒░ ▒ Zverev. In Moscow he was to win considerable success ▒ ░▒
▒░ ▒ as time went on, both as a performer and as a ▒ ░▒
▒░ ▒ composer, although it was the second of these roles ▒ ░▒
▒░ ▒ that seemed likely to be the more important. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The Communist Revolution of 1917 was to bring many ▒ ░▒
▒░ ▒ changes. While some musicians remained in Russia, ▒ ░▒
▒░ ▒ others chose temporary or permanent exile. ▒ ░▒
▒░ ▒ Rachmaninov took the latter course, and found ▒ ░▒
▒░ ▒ himself obliged to rely on his very considerable ▒ ░▒
▒░ ▒ gifts as a pianist in order to support himself and ▒ ░▒
▒░ ▒ his family. At the same time he was to continue ▒ ░▒
▒░ ▒ working as a conductor. Composition inevitably had ▒ ░▒
▒░ ▒ to take second or third place, and it was ▒ ░▒
▒░ ▒ principally as a concert pianist, one of the ▒ ░▒
▒░ ▒ greatest of his time, that he became known to ▒ ░▒
▒░ ▒ audiences. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ In 1897 Rachamninov's first symphony had beed ▒ ░▒
▒░ ▒ performed in St. Petersburg under the direction of ▒ ░▒
▒░ ▒ Glazunov, who, according to his wife's later ▒ ░▒
▒░ ▒ account, was drunk at the time. The work was badly ▒ ░▒
▒░ ▒ played and received a hostile critical reception. ▒ ░▒
▒░ ▒ César Cui, indeed, a surviving member of the Mightly ▒ ░▒
▒░ ▒ Handful, the five leading Russian nationalist ▒ ░▒
▒░ ▒ composers, described it as a student programme ▒ ░▒
▒░ ▒ symphony of the Seven Plagues of Egypt, an ▒ ░▒
▒░ ▒ unflattering judgement that contributed to the ▒ ░▒
▒░ ▒ composer's depression and loss of confidence. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The C Minor Piano Concerto was written in 1900 and ▒ ░▒
▒░ ▒ 1901 and is dedicated to Dr. Nikolay Dahl, under ▒ ░▒
▒░ ▒ whom Rachmaninov had undergone a course of ▒ ░▒
▒░ ▒ psychiatric treatment that restored his creative ▒ ░▒
▒░ ▒ urge. The second and third movements of a work that ▒ ░▒
▒░ ▒ was to prove to be one of the most popular romantic ▒ ░▒
▒░ ▒ piano concertos, were completed in the summer of ▒ ░▒
▒░ ▒ 1900 and the first movement in the following year. ▒ ░▒
▒░ ▒ In November 1901 it was performed in Moscow under ▒ ░▒
▒░ ▒ the direction of Rachmaninov's cousing, Alexander ▒ ░▒
▒░ ▒ Ziloti, with the composer as soloist and was ▒ ░▒
▒░ ▒ received with the greatest enthusiasm. The work has ▒ ░▒
▒░ ▒ retained its position in the repertoire, although it ▒ ░▒
▒░ ▒ has at the same time served as a model for ▒ ░▒
▒░ ▒ regrettably vulgar imitations that have nothing of ▒ ░▒
▒░ ▒ the innovative inspiration of the original. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The first movement of the concerto opens with eight ▒ ░▒
▒░ ▒ dramatic chords from the piano, followed by the ▒ ░▒
▒░ ▒ first theme from the strings, accompanied by piano ▒ ░▒
▒░ ▒ arpeggios. The second subject, played by the ▒ ░▒
▒░ ▒ soloist, is introduced by a phrase on the viola, ▒ ░▒
▒░ ▒ rhapsodic style by the pianist in a development and ▒ ░▒
▒░ ▒ in a recapitulation to which the soloist adds an ▒ ░▒
▒░ ▒ initially martial element. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ In the slow movement the orchestra moves gently from ▒ ░▒
▒░ ▒ the key of C minor to the remote key of E major, in ▒ ░▒
▒░ ▒ which the soloist enters with characteristic ▒ ░▒
▒░ ▒ figuration. The principal theme is introduced by ▒ ░▒
▒░ ▒ flute and clarinet, before being taken up by the ▒ ░▒
▒░ ▒ soloist. The more rapid central section of the ▒ ░▒
▒░ ▒ movement suggests the mood of a scherzo, leading to ▒ ░▒
▒░ ▒ a powerful cadenza. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ With scarcely a pause the orchestra introduces the ▒ ░▒
▒░ ▒ final movement, a further cadenza leading to the ▒ ░▒
▒░ ▒ first theme, with a second announced by the oboe and ▒ ░▒
▒░ ▒ violas. Both are treated rhapsodically by the ▒ ░▒
▒░ ▒ soloist, the second theme forming a romantic ▒ ░▒
▒░ ▒ contrast to the more energetic rhythm of the first. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The Rhapsody on a Theme of Paganini was written in ▒ ░▒
▒░ ▒ the space of a few weeks in 1934 and is based on the ▒ ░▒
▒░ ▒ theme used by Paganini as the basis of a set of solo ▒ ░▒
▒░ ▒ violin variations that form the last of his 24 ▒ ░▒
▒░ ▒ Caprices. The melody was to serve other composers, ▒ ░▒
▒░ ▒ such as Brahms and Liszt, and has continued to do ▒ ░▒
▒░ ▒ so. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ To Rachmaninov the Paganini theme suggested the ▒ ░▒
▒░ ▒ complementary use of another, more ancient melody, ▒ ░▒
▒░ ▒ that of the sequence that once formed part of the ▒ ░▒
▒░ ▒ Latin Requiem Mass, the Dies irae. This second ▒ ░▒
▒░ ▒ melody, which Rachmaninov had used appropriately ▒ ░▒
▒░ ▒ enough in The Isle of the Dead, was to appear again ▒ ░▒
▒░ ▒ in his final work, the Symphonic Dances of 1940. It ▒ ░▒
▒░ ▒ had served other 19th century composers as a symbol ▒ ░▒
▒░ ▒ of death, whether in the Symphonie fantastique of ▒ ░▒
▒░ ▒ Berlioz, in Liszt's Totentanz or, in Russia, in ▒ ░▒
▒░ ▒ Tchaikovsky's Third Suite. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Although the Rhapsody seems in origin to have had no ▒ ░▒
▒░ ▒ programmatic significance, the composer provided a ▒ ░▒
▒░ ▒ narrative explanation for Folkin's ballet Paganini, ▒ ░▒
▒░ ▒ the choreographic version of the legend according to ▒ ░▒
▒░ ▒ which the great violinist had sold his soul, ▒ ░▒
▒░ ▒ Faust-like, to the Devil in return for perfection as ▒ ░▒
▒░ ▒ a violinist and for the love of a woman (romantic ▒ ░▒
▒░ ▒ rumours that Paganini himself had been at pains to ▒ ░▒
▒░ ▒ contradict). The Dies irae is taken to represent the ▒ ░▒
▒░ ▒ Devil, while the original theme is Paganini himself. ▒ ░▒
▒░ ▒ Certainly the variations that make up the Rhapsody ▒ ░▒
▒░ ▒ include episodes of lyrical tenderness, forming a ▒ ░▒
▒░ ▒ central section of romantic intensity, followed by ▒ ░▒
▒░ ▒ what might seem the brilliant diablerie of the last ▒ ░▒
▒░ ▒ six of the 24 variations. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ - Jenö Jandó ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Jenö Jandó was born at Pécs, in south Hungary, in ▒ ░▒
▒░ ▒ 1952. He started to learn the piano when he was ▒ ░▒
▒░ ▒ seven and later studied at the Ferenc Liszt Academy ▒ ░▒
▒░ ▒ of Music under Katalin Nemes and Pál Kadosa, ▒ ░▒
▒░ ▒ becoming assistant to the latter on his graduation ▒ ░▒
▒░ ▒ in 1974. Jandó has won a number of piano ▒ ░▒
▒░ ▒ competitions in Hungary and abroad, including first ▒ ░▒
▒░ ▒ prize in the 1973 Hungarian Piano Concours and a ▒ ░▒
▒░ ▒ first prize in the chamber music category at the ▒ ░▒
▒░ ▒ Sydney International Piano Competition in 1977. In ▒ ░▒
▒░ ▒ addition to his many appearances in Hungary, he has ▒ ░▒
▒░ ▒ played widely abroad in Eastern and Western Europe, ▒ ░▒
▒░ ▒ in Canada and in Japan. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ - Budapest Symphony Orchestra ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The Budapest Symphony Orchestra, part of the ▒ ░▒
▒░ ▒ Hungarian Television and Broadcasting Organisation, ▒ ░▒
▒░ ▒ was established after the Second World War and under ▒ ░▒
▒░ ▒ its Principal Conductor György Lehel has won some ▒ ░▒
▒░ ▒ distinction. Throgh its frequent broadcasts and its ▒ ░▒
▒░ ▒ recordings it has become widely known, and its tours ▒ ░▒
▒░ ▒ have taken it to the countries of Eastern and ▒ ░▒
▒░ ▒ Western Europe as well as to the United States of ▒ ░▒
▒░ ▒ America and Canada. The orchestra has worked with ▒ ░▒
▒░ ▒ some of the most distinguished conductors and ▒ ░▒
▒░ ▒ soloists of our time. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ - György Lehel ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The distinguished Hungarian conductor György Lehel ▒ ░▒
▒░ ▒ was born in Budapest in 1926 and studied composition ▒ ░▒
▒░ ▒ with Pál Kadosa and composition with Lászlo Somogyi, ▒ ░▒
▒░ ▒ making his début as a conductor in 1947. He was ▒ ░▒
▒░ ▒ appointed principal conductor and music director of ▒ ░▒
▒░ ▒ the Budapest Symphony Orchestra in 1962 and appeared ▒ ░▒
▒░ ▒ in 1968 with the orchestra at the Cheltenham ▒ ░▒
▒░ ▒ Festival, where he conducted first performances of ▒ ░▒
▒░ ▒ music by Gordon Crosse and Elizabeth Maconchy. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ In a busy career Lehel has performed extensively in ▒ ░▒
▒░ ▒ Hungary and abroad, in Western and Eastern Europe, ▒ ░▒
▒░ ▒ the Soviet Union, the United States of America, ▒ ░▒
▒░ ▒ Japan, Australia and New Zealand. His many ▒ ░▒
▒░ ▒ recordings include a considerable amount of music by ▒ ░▒
▒░ ▒ Liszt and Bartok, and he has long been known for the ▒ ░▒
▒░ ▒ great encouragement he has consistently given to ▒ ░▒
▒░ ▒ younger Hungarian composers. The many awards he has ▒ ░▒
▒░ ▒ received incude the Liszt Prize in Hungary and an ▒ ░▒
▒░ ▒ Honorary Doctorate of Music from the Chicago ▒ ░▒
▒░ ▒ Conservatory. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Recorded at the Italian Institute in Budapest from ▒ ░▒
▒░ ▒ 9th to 10th February and from 5th to 7th April, ▒ ░▒
▒░ ▒ 1988. ▒ ░▒
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