Search - Santiago Rodríguez :: Rachmaninov: Piano Sonata No. 1; Thirteen Préludes, Op. 32

Rachmaninov with the lead out

Andrew Lindemann Malone | 10/02/2003

(5 out of 5 stars)

"I simply cannot let the other review of this CD stand. Of course when you order a CD with the words "Santiago Rodriguez" prominently displayed on it, you're going to get Santiago Rodriguez playing the piano. And that's a good thing! Rachmaninov has sometimes been cast as the essence of leaden, swooning late Romanticism, but Rodriguez make sure his harmonies are clean and clear and keeps things moving faster than many other pianists do. This is not to say he can't command a massive sonority; listen to the A major prelude and its speaker-shaking bass if you have any doubt on that score. But rather than luxuriate in Rach's gorgeous melodies and undeniable pianistic charisma, Rodriguez explores Rach's structures, bringing out the feeling as a natural consequence of the evolution of the score. He really makes you understand how the Sonata flows out of the opening germinal motif, and his playing of the Preludes makes you believe that Rachmaninov wrote preludes in all the keys for some structural reasons beyond the cool nature of such a feat. This is my favorite solo piano Rachmaninov CD and one of my favorite CDs, period."

Gotta love it. No, really.

CasioManiac | USA | 01/05/2007

(5 out of 5 stars)

"When I was learning this piece in conservatory (I played it on my Junior Recital), my teacher said, "This piece is flawed." All the New Music kids made fun of me too, saying "That piece is so bad, it almost becomes good, except not quite, so it's just really horrible."



Well darned if I don't love Rachmaninoff Sonata No. 1. I consider it to be to the 3rd Concerto what the Beethoven Triple is to his Ninth Symphony: an inspired, sincere, formally daring beta release. It's got beautiful melodies, technical challanges, a hefty narrative, and memorable and evocative motifs without sounding maudlin or too blatantly programmatic. It's also really idiomatic, vis-a-vis both Rachmaninoff and the piano. Those conservatory goons can just stick it!



Anyway, I became familiar with the few recordings of it I could find. And let me tell you -- things were looking grim. Everyone fell into either of two categories: those who were spread too thin doing Complete Rachmaninoff recordings and consequently didn't really sound confident or polished, versus those whose capricious lack of fidelity to basic score markings (such as dynamics and rhythms) would go undetected by an audience none the wiser. E.g., Gavrilov sounds downright unserious, like some swaggering Anakin of the Russian school of pianism. Berezovsky is better but still pitches the old "I patently contradict rests, articulations, and dynamics, like any other performer whose genius cannot be contained by such trifles would."



Again: I love Rachmaninoff Sonata No. 1. This was unacceptable.



Then I found Rodriguez's recording. I found it deliberate yet forward, faithful yet imaginative, Romantic yet not melodramatic, well voiced (there are lots of noodly textures, especially in the first two movements), accurate, polished but not taxidermic, driving but not bangy, diverse in sound, well-tempo'd, very lucidly phrased, and extroverted without being annoying. He achieves that ridiculously elusive, most gratifying combination of qualities one could hope for in a performance of big music: LOUD and PRETTY. In short, he plays it like he loves it.



And now, three years later, I still think this recording is the best. Thank you Santiago Rodriguez for stepping up to the plate. Or more simply, thanks for playing music you respect.



P.S. Apparently there's a recording of someone named Fiorentino who plays this piece the best out of anyone. Never been able to find it though."