Prior to this release, Naxos already had two versions each of Rachmaninov’s Second and Third Piano Concertos in their catalogue, so why the continued duplication of repertoire that is already more than adequately represented? The reason can surely be summed up in two words: Bernd Glemser. Glemser’s first recording of the Third Concerto for Naxos was excellent and must have led, one way or another, to his recording of the complete cycle, even though this had already been done for Naxos by Idil Biret.

What does Glemser bring to these works to justify these new recordings? Passion, style, and a truly awesome technique, that’s what. Rachmaninov’s Second Concerto is, I think, a work that is extremely difficult to bring off convincingly, mainly because any coherent performance requires careful co-operation between pianist and conductor, without which key moments of the work can descend into a messy, cacophonous game of Catch the Soloist. Fortunately, Glemser and Wit match each other perfectly, and my only slight reservation about this performance is at the very start, where the initial string entry sounds to me to be a fraction of a second late. This aside however, we have an excellent account that keeps getting better with each successive movement. The adagio sostenuto is as heart melting as it’s ever been and Glemser’s playing in the finale is sensational. Every note is well articulated without there ever being a loss of flow, but more than anything else, one gets the impression that Glemser knows not only how to play the music, but what it’s supposed to sound like too, something which some pianists seem to forget.

Glemser’s account of the Third Concerto is even more impressive. As I said, this is his second recording of the work for Naxos. The first was made in 1992, the present one in 1996, and in the intervening years he has clearly locked this music into his bones. The way he spins out the solemn opening theme makes it sound beautifully sensual, with the orchestral backing throbbing just as Rachmaninov wanted it to. In the central development section he tosses aside Rachmaninov’s myriad technical challenges without any loss of momentum, the climax sounding truly, well, climactic. And then we have ‘the’ cadenza. Glemser opts for the meatier, more difficult of the two on offer, a choice entirely consistent with his style of playing, even though many have said that the other, scherzo-like one is “better”. Clearly they have not heard Glemser. He absolutely pile-drives through it, not just taming the unwieldy monster, but mounting it and riding off into the sunset as well! If the CD just had this cadenza on it, it would still be worth buying.

Glemser is no less captivating in the slow movement where his fulsome tone and plain good taste simply allow the music to speak for itself. He and Wit unlock the Russian soul at the heart of this concerto. Again, the technical challenges mean nothing, which is reassuring as the build up to the phenomenally difficult finale begins… And what a finale it is! Technically flawless, full of passion, and with every phrase, every note even, beautifully judged. Rachmaninov would, I think, have been very proud.

The orchestral contribution is excellent throughout, and the sound quality of the disc is worthy of particular praise. New light was shone on orchestral details I hadn’t noticed before – witness, for example, the muted brass warning at 6:38 in the first movement of the Third Concerto.

Take into account the ridiculous Naxos price tag and you have a CD that can truly be said to be a “must-buy”.

- Robert Taylor -