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. It's not a flashy performance, but it delves into a lot of the thematic detail in the work, which is difficult to do at ...
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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. It's not a flashy performance, but it delves into a lot of the thematic detail in the work, which is difficult to do at this level of virtuosity. Giltburg and the Royal Scottish National Orchestra under Carlos Miguel Prieto are not particularly well-served by the engineering work at Glasgow's Royal Concert Hall; the sound lacks immediacy. But the sound is better at the Wyastone Estate concert hall for the second work on the program, the Variations on a Theme of Corelli, Op. 42, and it is here that Giltburg really excels. He extends the dynamic range not at the top of the scale but at the bottom,...
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![Rachmaninov: Piano Concerto No.3; Variations on a Theme of Corelli [Boris Giltburg; Royal Scottish Symphony Orchestra; Carlos Miguel Prieto; Carlos Miguel Prieto] [Naxos: 8573630]](https://www3.alibris-static.com/cover/o43550muuv3_t.jpg)
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