Alexander Brailowsky plays Rachmaninoff Concerto No. 2

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Uploaded by on Apr 13, 2008

Part I
Sergei Rachmaninoff: Piano Concerto No. 2, Op. 18
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  • @tedly10027 I hadn't thought about it in as much detail as you have, but yes, I think you are right.

  • brailowsky's shows a more "equal" attitude towards the orchestra where HE accomodates "clarinet solo, cello bowing, trumpet breathing" etc...and it shows in how "at ease" the orchestra sounds

  • .you can also see how PROMINENT the orchestral "exchanges" are with the piano and his tempi accomodates their "ease" -- as you pointed out. most soloists (without taking away from their greatness of course) fall within the "follow whatever I want" relationship with the orchestra and the latter naturally accomodate them...

  • @TheSapphirestation Your observation about Brailowsky's over-all&sectional tempi is an EXCELLENT and very rare one! this is also what I find extraordinary about his approach..his generally more flowing tempi in the "soloistic" sections suggests that he was very aware that it is easier for winds and strings to "finish" lines when they are not dragged too long for their breath or bows ..

  • This recording has been my favourite for nearly 50 years now since my father brought it home in 1964. It generates a vibrancy and excitement I have not heard in any other.

  • Brailowsky no tuvo igual.Juzgarlo o compararlo está fuera de lugar.

  • Sped up i think.. Or at least something is amiss. My perfect pitch ears are itching with Csharp minor!

  • Any player is going to play things the way they feel it. Personally I like the initial part when he slows down the opening chords. Adds a lot of drama. Then he settles into a nice tempo that is easy to follow for an orchestra. Then he slows it some as he goes. I like the opening drama myself!

  • Alexander Brailowsky,gloria de Ucrania,nunca hubiera dicho que Van Cliburn o Byron Janis interpretaban mal este concierto.Que descanse en paz.

    Jorge Liebermann

  • The initial tempo is way too fast and completely wrong in feeling. Listen to Rachmaninoff, Cliburn, Janis, et. al.

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