Rachmaninov Concerto No. 2 album - A Dutch Review
This album was packaged for marketing by the Champion Records in the Netherland: http://www.challenge.nl/product/1279028171 It was selected as "the recording of the month" in April 2011 by Challenge Records:
http://www.challenge.nl/recording-of-the-month-on-musicweb-of-nobuyuki-tsujii
The album contains the 2008 recording of the Rachmaninov Piano Concerto No. 2 with Yutaka Sado and the Berlin Philharmonic and three Listz pieces (possibly from Nobu's debut album): Liebestram, Mephisto Waltz, and Hungarian Rhapsody.
Following are two reviews published in Europe - one in Dutch from the Netherlands, and the other in English from the United Kingdoms.
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The following review appears on audio en muziek (a Dutch linline publication) on May 15 - an English translation can be read if you scroll down --
http://www.audioenmuziek.nl/cd-recensies-klassiek/rachmaninov-piano-concerto-no-2/
Geplaatst door: emile | May 15, 2011
RACHMANINOV LISZT
Nobuyuki Tsujii; Yutaka Sado
Deutsches Symphonie-Orchester Berlin
Challenge Classics CC 72371 DDD 60’
Uitvoering/Registratie ***/****
Nobuyuki Tsujii werd blind geboren, maar toch won hij op zevenjarige leeftijd de eerste prijs van de All Japan Music of Blind Students Association. Drie jaar later maakte hij zijn debuut met de Osaka Century Symphony Orchestra en inmiddels heeft hij de eer de eerste Japanse Gold Medalist te zijn. In juni 2009 ontving hij die, tijdens de 13de Van Cliburn competitie. Ofschoon hij een verbazingwekkende techniek heeft – zoals zoveel Aziaten – missen we hier toch een beetje de maturiteit die een dergelijk werk nodig heeft en daardoor klinkt het mijns inziens te gemiddeld. Maar dat is volstrekt geen schande: we zullen ongetwijfeld nog van hem horen. Voor de klatergoud stukken van Liszt is dat overigens geen probleem. Alles overziend kan ik niet anders zeggen dat ik een warme sympathie voel voor deze productie. De opname – gemaakt in de Duitse Teldex studio – is doorgaans goed in balans. De piano is misschien net iets te groot afgebeeld, maar voor de rest is dit een aangename registratie die een natuurlijk voorkomen heeft. Opvallend zijn de verschillen in ambiance, aangezien Liszt in de Salamanca Hall in Japan is opgenomen.
Emile Stoffels
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English translation (via google translate):
Execution / Registration ***/****
Nobuyuki Tsujii was born blind, but at the age of seven he won the first prize of the All Japan Music of Blind Students Association. Three years later he made his debut with the Osaka Century Symphony Orchestra and now he has the honor tobe the first Japanese Gold Medalist received in June 2009 , at the 13th Van Cliburn Competition. Although he has an amazing technique - like many Asians - we miss a bit of the maturity that such work requires, and therefore I think it soundstoo average. But that is absolutely no shame, we will undoubtedly hear from him. For the Liszt pieces of tinsel (sparkles?) is no difficulty. All in all, I can only say I feel a warm sympathy for this production. The recording - made in GermanyTeldex studio - is generally well balanced. The piano is perhaps a bit too big image (dominant?) , but otherwise this is a pleasant record with a natural appearance. Striking are the differences in the atmosphere since (the) Liszt (pieces, performed) in Salamanca Hall in Japan is included.
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Separately, here is an earlier review of this album that appeared in a British publication:
Review in the April issue of the Classic FM Magazine,United Kingdom (http://www.classicfm.co.uk)
Rachmaninov, Liszt (***)
Piano Concerto No. 2 (Rachmaninov), Liebestraume No. 3, Mephisto Waltz No.1, Hungarian Rhapsody No. 2(Liszt)
Nobuyuki Tsujii(pf), German Symphony Orchestra Berlin/Yutaka Sado
The music
Rachmaninov's popular Second Piano Concerto is paired, unusually, not with another concerto but with solo piano works of two of Liszt's most dazzling showpieces and the evergreen Liberstrame No. 3
The Performance.
The fact that Tsujii has been blind from birth is not an issue when comparing his playing to others, but it does, inevitably, add a touch of wonderment. The Mephisto Waltz in particular has treacherous leaps which most sighted pianists find challenging, so to hear Tsujii in one of the most thrilling accounts of disc seems nothing short of miraculous. The Hungarisan Rhapsody, despite Tsujii's own lacklustre cadenza, is tremendous.
The concerto, though, is disappointing with leisurely tempos and uninspired support from Sado. It sounds like an effortful partnership.