Rachmaninoff: Piano Concerto No. 1 In F sharp minor, Op. 1
Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18
Rachmaninoff: Prelude No. 6 in E flat major, Op. 23
Rachmaninoff: Prelude No. 2 in C sharp minor, Op. 3
Byron Janis’ playing possesses this ability to convince the listener that there is a light in the distance in a completely dark room. Even when he plays melancholy music like Rachmaninoff’s Second and Third Piano Concertos, there seems to be an uplifting trace of emotion that is always present; telling the listener that there is always hope. Experiencing this message is nothing short of extraordinary. Many parts of the two concertos here, have heartbreaking passages where it seems as if all is lost. I do not know if it is Janis’s touch, ability to color, articulation, or a mixture of everything; but he succeeds in assuring the listener that the music will always lead to triumph and the light.
The physical aspect of Janis’ playing is clearly evident. His interpretations exude a sense of respect. While some might argue that there are qualities of subdued emotions in his playing, I tend to view this situation as more of a way to show the real direction of the music. Like Rubinstein, Janis gives an uninterrupted and crystal clear view of the two concertos. I applaud Janis for his ways. As a pianist in the process of learning the Second Concerto, I am familiar with the temptations of this music. It is difficult to maintain one’s composure and not to fall into an emotional mess. Overdoing rubato often leads to over-sentimentalism, something that distorts the original ideas of Rachmaninoff. Janis’ understating abilities leave the listener yearning for more.
The opening movement of the third concerto is played with extremely inviting phrasing; preparing the listener for what is to come. It is fabulously understated. Janis succeeds in making a simple melody into something truly special. Janis’ technique is limitless. As a former student of the famous Vladimir Horowitz, Janis inherits his teacher’s coloring techniques and virtuosic technique. The cadenza is played with fire, and Janis’ pedaling technique is impeccable. Sometimes it sounds as if he is using no pedal at all; that could certainly be the case as Janis does have a large handspan. The clarity of his articulation combined with controlled pedaling enables everything to be heard, especially in the cadenza. In this particular recording, Janis plays the original cadenza, not the Ossia. Still, it is monstrously difficult.
The Intermezzo demonstrates the excellent conducting of Dorati. In fact, both the London Symphony Orchestra and Minnesota Orchestra sound equally excellent: certainly a tribute to Dorati’s skills. Again, Janis’ fingerwork shines through the thickly textured orchestral sound.
The final movement is where Janis’ precision is revealed. From the opening bars, Janis and Dorati are in complete unison in terms of rhythm. The lock-in feel conjures images of an army marching to its destination. Even though the piano is often covered up by the orchestra, Janis’ playing still provides a firm base for Dorati when the melodic line is in the orchestra. The Finale is played with the same precision and clarity present at the start of movement.
The second concerto is played with the same understated phrasing as the third. Janis starts the movement at a relatively brisk pace compared with other recordings I have heard. From the start, there is little rubato. He really succeeds in leading into phrases and his ability to taper and introduce phrases is startling. This playing of the E flat major theme following the introduction is heartwarming. He does not overemphasize any aspect of the music, and this is what leaves the listener wanting more. The transition before the chordal passages and climax of the Moderato are played with wonderful style. His use of accentuation and color gives the transition a dynamic momentum that is often lacking in other accounts of this concerto. The march passage is, again, played with stunning precision. As the concerto winds to an end following the climax, Janis’ poetic playing does not let down. For me, his treatment of the passage right before the A tempo into the final section of the concerto sounds almost…religious. I regain my consciousness when he enters into the concluding passage, which is played with nothing over-expressed.
The Adagio sostenuto is the movement which many tend to over-interpret; resulting in loss of any meaning whatsoever. Janis does not resort to fulfilling these temptations. He states what has to be stated and nothing more. This makes for a very peaceful atmosphere, free from any distortion from over-thinking the arpeggiated figures of this second movement. Many things can described with intense observation and convoluted vocabulary. On the other hand, the same things can be describe using simpler methods. The latter is Janis’ way of describing the landscape of the Adagio sostenuto. The rest of the movement is fairly straightforward with an extremely articulate cadenza passage. The nocturne then resumes until the closing moments which are very special indeed. Listening to these section with an extrospective state of mind reveals that there is no rubato, no waiting, and no lingering. As one gives in and appreciates this music with an emotional state of mind, it is as if Janis lingers on these final chords of the Adagio sostenuto. It is an amazing illusion; certainly one that must be listened to and experienced.
The final movement of the Second Concerto is extremely straightforward as are the other movements. Janis does not “rubatize” the famous romantic theme of the Allegro scherzando. It leaves the listener to fill in the emotions; a wonderful experience if one is prepared for it. Janis and Dorati bring the concerto to an end with brisk closure. The chordal passages following the mini cadenza and subsequent moment of silence are played with a goal in mind. Janis does not over-sentimentalize this section as so many do. Overall, this recoding of the Second Concerto is a much needed breath of fresh air.
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