Talk:Piano Concerto No. 4 (Rachmaninoff)

Who first recorded which "original version"?
William Black recorded the concerto with the Icelandic SO, under Igor Buketoff in 1991/92. I’ve put him against the 2nd (1927) version, but now I’m not so sure. Let me think aloud while I review the evidence:

This source says it was the version "as originally conceived by the composer", but it also says there were previous recordings of this version (I’ve not seen that stated anywhere else).

This source does not say explicitly that the Black/Buketoff was the premiere recording of the original version, but strongly suggests it ("Igor Buketoff ... has finally given a reading of the piece that allows the work to shine in all its deserved glory"). But that review talks only of the original version and the 1941 version; no mention of the 1927 version, so it’s not clear exactly which version this is.

This says Black’s recording was "the historic premier recording of the original version". This says it was the premiere recording.

This says it was not only the first recording of the original version, but as of 2003 it was "the only recording".

Now, lets move on to Alexander Ghindin/Vladimir Ashkenazy (2001). This claims theirs was the first recording of the original version, and that William Black’s “sluggish” recording was of the 2nd version. This says something similar.

This also claims priority for Ghindin, without mentioning Black. It says the recording was only made because Ashkenazy got hold of the manuscript from Rachmaninoff’s grandson, and this strongly supports that version of events.

But this seems to clear up the confusion:
 * "Ondine's CD presents Rachmaninoff's first and last concertos, each identified as "original versions" stating the Concerto No. 4 here receives its world premiere recording, which is not exactly true—in 1991 Chandos issued a CD featuring William Black with the Iceland Symphony conducted by Igor Buketoff coupled with the composer's early one-act opera Monna Vanna (8987). I've been informed by a representative of the Rachmaninoff Society that the Chandos recording is the first of the second version of Concerto No. 4, and the new Ondine actually is the first of the first version."

So, it seems that a lot of people were aware of the original version and of the 1941 version, but were not aware there was an intermediate version. So, knowing that Black had played a version earlier than the 1941 version, they assumed it must have been the only other version they were aware of, the original. But they assumed wrongly. So, William Black can stay where he is, as the first performer/recorder of the 2nd (intermediate) version, and Ghindin can have the credit for the original version. -- JackofOz (talk) 05:03, 28 April 2009 (UTC)


 * I don't think there is a great mystery. The liner notes with the Monna Vanna CD have Buketoff talking about his changes made to the orchestration and the various revisions. As far as I recall, also, the CD's materials specifically identify it as a 1927 version. Moreover, if one listens to the Black version and the Ghindin version one will hear where the cuts and changes were made, the Black version being shorter. The final movement also has the loud crescendo at the beginning that the original version lacks. There are some things I prefer about the 1927 revision (like the filling in of a missing chord in the opening theme!), although certainly not that crescendo. Although the dynamics of the Buketoff recording are unfortunately rather flat, most likely due to an inferior recording setup, it lacks the comparative awkwardness of the Ghindin first movement. It feels polished and spacious, although it could do with a bit more contrast and panache. Again, I think the recording setup was not as good and it's not necessarily the fault of Buketoff's changes to the orchestration. However, as I recall the final movement is on the slow side. The Ashkenazy/Ghindin is more virile but a bit rough around the edges.