[SACD-R][OF] Рахманинов - Концерт для фортепиано 3 in D Minor, solo piano works (Arcadi Volodos/Володось and Berlin Philharmonic, James Levine) - 2000 (Classical Orchestral, Piano)

Amazon review by Scriabinmahler:
At 1st listening, I didn’t like the interpretation at all – Volodos’ excessive effort to bring all detail to attention impedes flow of music at times. But the more I listen the more I was amazed by his enormous capacity to dig deep into heart of the music. The cadenza in the middle movement is incredibly vivid. I still prefer Horowitz’ earlier accounts, but this 1 has something very special, more depth & dignity perhaps.
Amazon review by Dr. Ervin Nieves:
I’m a bit surprised to have read comments from a few reviewers who accurately laud young Maestro Volodos’s fantastic technique, & then go on to denigrate his piano mastery simply because Volodos doesn’t play like Gilels (thank goodness for that!) or anyone else. Yes, Volodos is his own man. Comparisons to Horowitz are most apt. Yes, he is not as volcanic as Horowitz; this however does not diminish Volodos’s equally wonderful performance of Rachmaninoff’s Piano Concierto No. 3. If a little less volcanic, Volodos’s interpretation is perhaps quite a bit more romantic, & perhaps a bit more virtuosic than Horowitz’s (but yes, with modern editing wonders, one never knows how the chap really sounds. “Live” can still be “edited!”). But let me once again address negative reviewers by adding that it is NOT a crime for a masterful pianist to sound “Romantic” when he is indeed playing Romantic repertoire. Is one’s appreciation or depreciation of young Maestro Volodos’s pianoship a question of taste? Perhaps. But I am astounded by the “deaf ears” of listeners who should consider themselves fortunate to be listening to a truly great new young virtuoso. Comparisons to Gilels are not accurate. Volodos’s musicianship is much grander & unlimited than Gilels (whose oft “typing-like” playing sounds, well, like typing).
Although I admire & enjoy Kissin, Volodos’s musicality & technical wizadry are much grander (not to diminish Kissin’s noteworthy musical contributions!). To be sure, Volodos’s name belongs alongside the truly great pianists of posterity: Josef Hoffman, Sergei Rachmaninoff, Vladimir Horowitz, William Kapell, Sviatoslav Richter, etc. (Let me add 1 caveat & agreement with critics of Volodos: I own all 5 of Volodos’s CDs & must say that EACH is a masterpiece EXCEPT FOR Volodos’s Tchiakovsky’s Piano Concierto No. 1. Only in that recording did young Maestro Volodos fail to deliver. My guess is that Volodos’s exclusive recording contract with SONY prompted him to “crank 1 out” much too prematurely. Such recording pressures has been the undoing of many great “should-have-been-great recordings.” Of course, there is the possibility that young Maestro Volodos, however magnificent, can’t play that particular Tchaikovsky Concierto. But if true, no matter! No ONE pianist has ever played EVERY SINGLE COMPOSER faultlessly. If Rachmaninoff himself couldn’t play Chopin well, Volodos should be forgiven if he has YET to master Tchaikovsky. But heck, he’s still a kid, right? Give the chap time! In the final analysis, to fault young Maestro Volodos’s wonderful unique interpretation of Rachmaninoff’s is beyond unfair. It’s irresponsibly inept & unworthy of anyone but a sorely untalented dilettante. We should rejoice that we have amongst us now a pianist who can truly mature into a legendary pianist without technical or musical limitations!

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