The 20th century witnessed a plethora of exceptional pianists who took on the most popular piano concertos of their time. Rachmaninov’s four concertos and the Rhapsody on a Theme of Paganini stand out in this regard, with a rich recorded history and a distinguished lineage of interpreters. From Rachmaninov himself in the 1930s to Daniil Trifonov’s recent completion of the cycle in 2019, there have been numerous outstanding complete surveys as well as dazzling individual performances of these concertos. Some notable mentions include Sviatoslav Richter’s rendition of the Second concerto, Vladimir Horowitz and Martha Argerich’s interpretations of the Third, and Arturo Benedetti Michelangeli’s unsurpassed version of the Fourth.
Yuja Wang certainly faces intense competition in her endeavor to survey all five of Rachmaninov’s works. Her performances were captured during concerts held at the prestigious Walt Disney Hall in Los Angeles in February. Prior to these concerts, Wang had already given a series of performances of the concertos across North America. Notably, she showcased an extraordinary feat at New York’s Carnegie Hall by performing all five concertos in a single day, alongside conductor Yannick Nezet-Séguin and the Philadelphia Orchestra. The concerts with Gustavo Dudamel and the Los Angeles Philharmonic were spread out more sensibly over a two-week period, featuring one concerto per performance.
Wang had previously recorded three of the concertos: the Second concerto and the Rhapsody with Claudio Abbado, and the Third concerto with Dudamel, in 2011 and 2013 respectively. However, her performances in this survey demonstrate a newfound maturity as a performer. While she effortlessly captures the flashy exuberance and quicksilver shifts of mood in the First concerto, showcasing her incredible technical abilities, she also delicately brings out the lyrical qualities of the Andante with great sensitivity. The Second concerto’s famous opening chords are presented in a manner that anticipates a great dramatic narrative, rather than indulging in mere romanticism. However, the slow movement feels slightly hurried and lacking depth. Other pianists may find more profound expressiveness in that section, although none can match Wang’s elan in the finale.
In Wang’s survey, the performance of the Third concerto, the most intricate and ambiguous of the set, is the hardest to capture in words. The opening theme may lack the enigmatic aura and introspection that some pianists bring to it, yet the delicate intricacies of the second theme are beautifully shaped. The slow movement is replete with exquisite details. As for the Fourth concerto, despite its energy, there is a slight inconsistency in the chemistry between the orchestra and the soloist compared to the other performances. Nevertheless, the Rhapsody shines brilliantly as it should, even though Wang may sometimes emphasize the music’s lyrical moments excessively, especially in the renowned 18th variation. Ultimately, no single pianist’s interpretation of these concertos can be universally convincing. The current approach of selecting different performers for each concerto remains the optimal choice.
To experience Wang’s survey, you can stream it on Apple Music or listen on Spotify. Both platforms provide a convenient way to enjoy the captivating performances of these timeless piano concertos.
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