THREE MORE GREAT RECORDINGS
Philippe Entremont (piano) The Philadelphia Orchestra/ Eugene Ormandy (1958) Sony G010003653285X (download) French pianist Philippe Entremont’s vintage recording with the Philadelphia Orchestra thrills for its intensity. His pianism is like crisp champagne, his virtuosity leavened with precise ensemble playing. It helps that the ensemble in question has a long affinity with the work – the Philadelphia Orchestra had premiered the variations on disc in 1934 under Leopold Stokowski with Rachmaninov as the soloist, who reportedly considered the orchestra to be his favourite. Entremont’s approach is more energetic and less inhibited than most: this is effective in the final variations, perhaps less so in the middle parts. The recording, while exciting as a slice of musical history, suffers for its close miking of the piano. Originally released on LP in 1958, it was remastered and re-released in 2014.
Van Cliburn (piano) The Philadelphia Orchestra/ Eugene Ormandy (1971) RCA G010001717520Y
The Philadelphia Orchestra and conductor Eugene Ormandy cannot escape the limelight, this time appearing with the exalted Van Cliburn, one-time winner of the Tchaikovsky contest. His interpretation is more expansive than Entremont’s, taking nearly 25 minutes to luxuriate at every poetic twist and turn (versus Entremont’s speedy 22 minutes). The American’s charismatic
Andante cantabile (Variation 18) is one of the best you’ll hear – note the considered poise before the lyrical outpouring as we move into the inversion of the main motif. Van Cliburn excels at capturing the Romantic elements of the work, such as the foreshadowing Variation 15. In places, perhaps, this version lacks the light-heartedness that Rachmaninov originally intended: the rhetorical flourishes could do with a sprinkle of pizzazz. It’s a small gripe.
Yuja Wang (piano) Mahler Chamber Orchestra/ Claudio Abbado (2011) DG 477 9308
The final selection was difficult, coming down to a straight decision between this recording and Daniil Trifonov’s later version with the Philadelphia Orchestra (again!) under Yannick Nézet-séguin (also on DG). While both pianists capture the raw emotion and technical brilliance, Yuja Wang’s mischievous style – particularly in the first group of variations – suits the Gershwin-esque elements, and contrasts with the Romanticism of Van Cliburn (above), the virtuosity of Vladimir Ashkanazy (with the LSO under André Previn) or the neatness of Nicolai Lugansky (with the CBSO under Sakari Oramo). The live element adds an additional layer of excitement, and there is spirit, verve and a twinkle. This is one of Wang’s earliest recordings, and also one of her best.