This is the fourth of Boris Giltburg’s unofficial cycle for Naxos, recording Rachmaninov concertos and solo works. After recording persuasive accounts of the Etudes-tableaux and Moments Musicaux from the solo repertoire, now comes this album, which contains the complete Preludes, Op. 23 and 32, along with the well-known, early C Sharp Minor Prelude, Op. 3 No. 2.
Those familiar with Giltburg’s uncanny attachment to this music will not be surprised by the quality of the execution, but in this version it may be even more clearly manifested than before. The first set, Op. 23, is presented with an almost single sweep of unforced naturalness, with famous preludes such as the G Minor (No. 5) given lovely interpretation, the contrasting elements truly interact with each other rather than weakening one another. The second prelude from this set dances softly, and ends with a sense of inevitable closure. Thick-layered preludes as No. 7 is presented with a multicolored flair that never sounds like a superficial virtuosity. Famous alternative versions of this cycle, such as Rodriguez’s or Ashkenazy’s, sound almost plain in comparison.
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There are merely a few pianists who play the two sets of the preludes equally well. The Op. 32 set is a more dramatic, less seductive cycle that can sound disjointed in the wrong hands. Giltburg succeeds here because of his way of making sense from the chaos, as in the first prelude (B Flat Minor) or the mysterious second, a piece which can sound so static and here receives an animated performance. After a dreamy No. 5 (a highlight in Lugansky’s version), comes the nicely voiced sixth and seventh preludes, with the latter wisely hinting at a dance in the left hand while preserving the long phrase on the right, remarkable pianism on display indeed. The B Minor prelude (No. 10), so loved by great pianists from the past (including the composer himself), is given here with a depth of feeling and quiet sorrow, with the big crescendos at 1:45 and the final arpeggios at 3:45 sound spectacular. The same can be said for another quite well-known prelude, No. 12 in G Sharp Minor, which will surely persuade the last of the undecided.
Giltburg is recorded, once again, at the concert hall of Wyastone Estate (Monmouth, UK). The recording quality, as well as the well-voiced Fazioli piano used, are contributing factors in making this a significant addition to a competitive Rachmaninov catalog. Highly recommended.
Rachmaninov – 24 Preludes (Op. 3/2, 23, 32)
Boris Giltburg – Piano
Naxos Records, CD 8.574025
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