Rachmaninov - Zilberstein / Abbado - Piano Concertos Nos. 2 & 3 (1994) [Repost, new rip]

×

Rachmaninov - Zilberstein / Abbado - Piano Concertos Nos. 2 & 3 (1994) [Repost, new rip]

Close

Sergei Rachmaninov - Piano Concertos Nos.2 & 3
Lilya Zilberstein, Piano / Claudio Abbado / Berliner Philharmoniker
EAC+LOG+CUE | FLAC: 286 MB | Full Artwork: 64 MB | 5% Recovery Info
Label/Cat#: Deutsche Grammophon # 439 930-2 GH | Country/Year: Germany 1994
Genre: Classical | Style: Late Romantic, Early 20th Century

MD5 [X] CUE [X] LOG [X] INFO TEXT [X] ARTWORK [X]

my rip [X] not my rip []

×

Rachmaninov - Zilberstein / Abbado - Piano Concertos Nos. 2 & 3 (1994) [Repost, new rip]

Close

Artist Biography by Erik Eriksson

Compact in physical size and lacking the long fingers usually expected of a virtuoso pianist, Lilya Zilberstein nonetheless has made a powerful impression with connoisseurs of fine piano performance. By the age of 30, she had already become one of the world's finest pianists. Born in Russia and trained in the tradition of her great predecessors, Zilberstein relocated to Germany and pursues an active career in the West, performing throughout Europe and North America. Several recording made for Deutsche Grammophon have drawn enthusiastic reviews, advancing her reputation and preserving some memorable interpretations.

Zilberstein received extensive schooling at the Gnesin Special Music School, training with Ada Traub from 1971 to 1983, thereafter moving on to work with Alexander Satz at the same institution and continuing under his tutelage until 1990. In Russia, she took first prize in numerous piano competitions. Winning first prize at the Busoni Competition in 1987 resulted in Zilberstein's German debut at a 1988 concert in Munich and a handsome contract with Deutsche Grammophon. Concerts elsewhere followed in quick succession, including solo appearances with the Berlin Philharmonic, the Dresden Staatskapelle, London Symphony, Czech Philharmonic, RAI Symphony of Turin, the NHK Symphony in Tokyo, the Danish National Radio Orchestra, the MDR Orchestra of Leipzig, the Montreal Symphony, Buffalo Philharmonic, Milwaukee Symphony Orchestra, St. Louis Symphony, Colorado Symphony, and the Chicago Symphony under James Levine. She has also become a favorite at the Peninsula Music Festival, having been engaged for multiple performances with music director Viktor Yampolsky over the course of three seasons.

In addition to orchestral appearances, Zilberstein has presented recitals in many of the world's musical capitals. She has won acclaim in New York, Toronto, San Francisco, Berlin, Vienna, Prague, Dresden, Leipzig, Stuttgart, Rotterdam, and Florence, among other cities. Zilberstein moved to Hamburg in 1990, residing there with her husband and two sons; they may be observed traveling with her when school schedules do not interfere.

Among Zilberstein's several excellent recordings are her imaginative reading of Mussorgsky's Pictures at an Exhibition, a bravura coupling of Rachmaninoff's Second and Third piano concertos with the Berlin Philharmonic conducted by Claudio Abbado, and a technically strong yet lyrically inflected Grieg Piano Concerto with Neeme Järvi and the Gothenburg Symphony Orchestra. Loathe to add a distracting element of glamour to her stage deportment, Zilberstein is all business in addressing the keyboard. Sitting erect and offering no extraneous gestures, she is content to put all of her concentration into the music she performs. Only when she has finished does she relax a bit and allow the audience to see her melting smile. Audiences have responded to her exciting and detailed performances in a fashion exemplified by a Montreal critic who praised her April 16, 2002, performance of Tchaikovsky's Piano Concerto No. 2 by citing her "virtuosity and nuanced palette." allmusicguide

till they come. The Rachmaninov Concertos notably Nos. 2 and 3, gain rather than decrease in popularity, and Lilya Zilberstein's distinguished partnership with Claudio Abbado and the Berlin Philharmonic is an impressive reminder of just how seriously today's younger pianists particularly if they are Russian—take their Rachmaninov. After her recent fluent but less than fully idiomatic Debussy and Ravel recital (see page 72) Zilberstein is clearly back on home ground. A word of warning will not, however, be out of place for virtuoso fanciers. These are hardly the sort of performances where one tempts visiting friends and listeners with this or that tit-bit (a flashing cadenza, a hell-fire finale and so on). In grandly aristocratic style Zilberstein's mastery eschews all obvious display and you take her dignified and integrated approach whole and complete or not at all. True, some listeners may yearn for a little more flexibility in the Adagio's achingly romantic phrases (Second Concerto), secretly or openly longing for a more roseate nostalgia. Yet how superbly Zilberstein and Abbado forge the Concerto's very opening, how surely they pace the same movement's final meno mosso. The build-up towards the climax of the development is thrilling and purposeful and the finale's concluding maestoso is an imperial experience.

My misgivings, such as they are, occur more in the Third Concerto. Again Zilberstein always allows the composer his own voice, yet is her first entry in the ''Intermezzo'' like ''dark pearls flung on velvet'' (a fanciful description prompted by an altogether more potent and characterful player)? At 3'20'' and 7'44'' respectively, her scherzando and decorative flight are a trifle staid (try Gilels, an altogether more ardent and high-flying virtuoso, in the former). Those in search of a transcendent rather than worthy experience will look elsewhere, to Gilels and, should your taste lie that way, to Horowitz's wickedly teasing and demonic recordings on RCA. On the other hand DG's new recording is magnificently balanced, creating a darkly glittering tapestry of sound and Abbado and the Berlin Philharmonic could hardly be more acute or sympathetic partners. Those interested primarily in the Second Concerto should certainly winkle this disc out from a dauntingly long list of alternatives.'
Reviewed: Gramophone 2/1995, Bryce Morrison

×

Rachmaninov - Zilberstein / Abbado - Piano Concertos Nos. 2 & 3 (1994) [Repost, new rip]

Close

all of my uploads in my blog