Rachmaninov - 24 Preludes: Op. 3, no. 2. Op. 23. Op. 32
Steven Osborne
Hyperion CDA67700

Release date May 2009

Many of Steven Osborne’s recordings have embraced less familiar piano music, but for his latest disc he returns to mainstream repertoire with Rachmaninov’s Preludes. He opens with the instantly familiar Prelude in C-sharp minor, Op. 3 no. 2. In his hands, it sounds as though it has walked straight off the pages of a Rachmaninov piano concerto. As the disc progressed, I was struck by the huge variety of atmosphere in Osborne’s performance. Where Rachmaninov calls for the gigantic (as in the C-sharp minor Prelude) then we get it. Yet these preludes demand many different textures and techniques of their pianist, and Osborne meets this challenge with apparent ease. Moments of magical dreaminess occur (for example, Prelude in G major, Op. 32 no. 5 which both shimmers and also allows the melodic line to shine through). In the sleeve-notes, Osborne muses that the preludes reflect Rachmaninov’s difficult life. With this in mind, Prelude in B minor, Op. 32 no. 10, filled with cross-rhythms, captures much of the pain to which Osborne refers. There are other points where the playing is breath-takingly nimble (just listen to Prelude in F minor, Op. 32 no. 6). Of the Opus 23 set, the Prelude in B-flat major stands out; Steven Osborne’s interpretation of this majestic work is spectacularly grand. In his recent Gramophone interview, Osborne said that “physically it [Rachmaninov] doesn’t suit me as well as other composers.” He then comes to the conclusion that he can only work within his limitations; yet here it is very difficult to hear what these may be! For many years, Ashkenazy’s CD on Decca has provided the staple recommended recording of these works. However we now have a serious contender in Steven Osborne. Gramophone argues that this recording “has award-winner written all over it” and I, for one, am inclined to agree!

Reviewed by Ruth Squire