Sergej Rachmaninov

resampled

Concertos, Orchestral music, Arrangements, Variations, Canon + Fugues
in digital "Paralel"-Interpretations

Parallel Interpretation:

a) Teldex-Studio

(in the sound of a New-York-Steinway D (1951) with Studio Orchestra in the Room of the Teldex-Studio)

Parallel Interpretation:

b) Berlin Philharmony

(in the sound of a German Steinway D (2006) with symphonic orchestra in the room of the Berlin Philharmonie)

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Piano concertos

Nr.1 f#-minor Op.1

Nr.2 c-minor Op.18

Nr.3 d-minor Op.30

Nr.4 g-minor Op.40

Nr."5-e-minor"(Symph.2 Op.27)

Paganini-Rhapsody a-minor Op.43

to the recordings
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other
Orchestral Music

The Rock Op.7

Symphony 2 e-minor Op.27

Vocalise op.34,14

(Three original Versions)

to the recordings
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Arrangements

on Violin music

on Piano pieces

on Operas

on orchestral music

on Songs

zu den Aufnahmen
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Variations

Chopin-Variation Op.22

Corelli-Variaition Op.42

Paganini-Rhapsody Op.43

zu den Aufnahmen
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Early Counterpoint

Piece / Fuge in d minor (3 Vers.1881-1891)

Canon in e minor (1890)

Fantasy g & Fughette F (1899)

zu den Aufnahmen

About this Parallel-Interpretations:

When researching comparative recordings, I discovered that Rachmaninov's own recordings of his concerts were obviously studio recordings, which in the 1940s could not yet offer the technical approximation of a recording of the acoustics of a concert hall. In these studio recordings, Rachmaninov's detailed music gained in transparency and audibility compared to the usual large sound of the concert hall, without having any less romantic flow. With the means of digital interpretation, it is now possible to digitally recreate the acoustics of iconic music venues.

The appeal of the comparison was not only based on the room acoustics, however. The strength of the orchestra and the soloist's historic or new Steinway grand piano also contribute to the difference between recordings in the studio and in the concert hall. Since I consider both options to be technically feasible and musically reasonable and interesting, I have therefore made in this project two recordings of each work, which differ in terms of acoustics, Steinway and orchestration. In order to familiarize myself with the digital interpretation of Rachmaninov's piano style, I first tried out this procedure on Rachmaninov's variations, contrapuntal works and arrangements by other composers.