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My Classical Notes, April 2019

On this recording, Rachmaninov’s sets of Préludes are a mirror and a record of his compositional development. With so rich a variety of character, color, texture and mood, no two préludes are fully alike. Whether evoking ballad or bell toll, the exotic or folk influences, the Préludes stand in the great tradition of works by Bach and Chopin written in all 24 major and minor keys. © 2019 My Classical Notes Read complete review



William Hedley
MusicWeb International, August 2018

Giltburg lacks nothing in respect of the technical prowess demanded, and that includes the original, massive cadenza in the concerto. He produces a most beautiful sound and manages not to compromise that beauty in louder passages. The orchestral playing is excellent under Carlos Miguel Prieto, providing a most sensitive accompaniment in a work whose orchestral writing is beautifully fashioned albeit largely subsidiary to the solo part. When needed, however, the orchestra rises to the occasion and produces richly sonorous playing of great character. Andrew Keener and his recording team provide splendid sound. This is, then, a totally satisfying performance of a work that many readers will already have in their collection. © 2018 MusicWeb International Read complete review



Robert Cummings
MusicWeb International, August 2018

Giltburg makes the music sound vital, alive and more colorful than in many other accounts of the work. This performance ends up being more than just a nice filler for the concerto, then: it is revelatory, not only because it persuaded me to take another look at what turns out to be a very deserving work, but because it also demonstrates that Giltburg is a major talent on the concert scene today. Again, the sound reproduction by Naxos is very good. Strongly recommended—Giltburg’s growing fanbase should love this recording. © 2018 MusicWeb International Read complete review




Remy Franck
Pizzicato, July 2018

Giltburg’s masterfully coherent, richly detailed, colourful and overall exciting account of Rachmaninov’s Third Concerto is a real treat. The pianist is extremely well supported by the Scottish National under Carlos Miguel Prieto in a well-balanced recording. Giltburg’s Corelli Variations are no less thrilling. He is not only displaying a fantastic digital dexterity but he also shows the various moods of the piece to perfection. © 2018 Pizzicato



Phil Muse
Audio Video Club of Atlanta, July 2018

Giltburg’s prowess is every bit as formidable in the companion-piece, Variations on a Theme of Corelli, for solo piano. This work provides a link with the Third Piano Concerto in which the second movement is also a set of variations. The Corelli Variations are, of course, based on the old 15th century tune La Folia (Madness) which was originally a dance to ward off the plague. © 2018 Audio Video Club of Atlanta




Patrick Rucker
Gramophone, July 2018

Boris Giltburg’s new Naxos recording of the D minor Concerto with Carlos Miguel Prieto and the Royal Scottish National Orchestra shatters the encrustation of reputational habit, offering instead a vividly imaginative recreation of a score that lives and breathes with irresistible vitality. Giltburg’s approach is fundamentally lyrical, rhetorically apt and, aided and abetted by Prieto and the Scots, sensitive to every marking in the score. © 2018 Gramophone  Read complete review on Gramophone




James Manheim
AllMusic.com, June 2018

The young Russian-Israeli pianist Boris Giltburg has been gaining adherents with a repertory and style that in some respects resemble those of the great pianist who championed this concerto and put it into the repertory, Vladimir Horowitz. Like Horowitz, Giltburg has a fluid style that conceals the effort in the Piano Concerto No. 3, Op. 30, the most technically treacherous of Rachmaninov’s four concertos. © 2018 AllMusic.com Read complete review



Franziska v. Busse
NDR Kultur (NDR.de), June 2018

An Israeli pianist with Russian roots, a Scottish orchestra, a Mexican conductor—you would think of this as not a really special cast in today’s Classical music business. But then you hear that there is something melting in the sound that does not just repeat the tradition of that “great, old, heavy, soulful Russian” cliché. Just the opposite is the case: The orchestra sounds light, bright, elastic and that fits formidably well to that well controlled and explicitly balanced way of piano playing by Boris Giltburg. © 2018 NDR Kultur



Lisa Flynn
WFMT (Chicago), May 2018

Rachmaninoff’s Piano Concerto No. 3 is a complex, epic narrative that moves from a simple opening melody to the triumphant apotheosis at its conclusion. In the Variations on a Theme of Correlli, Rachmaninoff reworks the original theme using his unique harmonic language until there is no trace left of its Baroque or Renaissance origins. Pianist Boris Giltburg was born in 1984 in Moscow and has lived in Tel Aviv since early childhood. His previous solo Rachmaninoff recording was named Gramophone album of the month in June 2016, and more recently his first concerto album won a Diapason d’or for his account of the Shostakovich concertos. © 2018 WFMT (Chicago)



David Denton
David's Review Corner, May 2018

The second of three discs that will contain a complete cycle of Rachmaninov’s Piano Concertos comes from the Russian-born Israeli virtuoso, Boris Giltburg. As with his much critically proclaimed recording of the Second concerto, the very opening bars set the scene for a very different approach to the ones we have already on disc. It’s not just a case of picking out specific points where he takes his own viewpoint, the whole performance gives us a totally new approach where the choice of tempos is a very personal, at times they are unusually relaxed, while at other times are charging headlong. The first movement cadenza is almost improvisatory in every respect, and sets out his credentials as one of today’s most outgoing virtuosos. Then his return to the orchestral accompaniment is one of the most beautiful I have encountered on disc. And so the performance continues, with an affectionate view of the central Intermezzo, and then, often taking dynamics to the extremes, his finale is full of white-heat moments. The work’s closing section heard in the concert hall would have generated tumultuous applause, aided-and-abetted by the orchestra’s cymbal player. Throughout the conductor, Carlos Miguel Prieto, has been at one with his soloist, while the Royal Scottish National are on fine form. The not overly-generous coupling is a very attractive account of the Variations on a Theme of Corelli. The recorded quality of the concerto is excellent, the balance between soloist and orchestra perfectly gauged. Strange idea then to move to another venue for the filler. © 2018 David’s Review Corner





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