Fedorova: Rachmaninoff Piano Concerto No. 1


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Piano Concerto No. 1 - Vivace
Piano Concerto No. 1 - Andante
Piano Concerto No. 1 - Allegro vivace
Prelude Op. 23 - No. 1
Prelude Op. 32 - No. 12
Prelude Op. 32 - No. 5
Prelude Op. 32 - No. 2
Rhapsody on a Theme of Paganini - Intro - Variations 1-6
Rhapsody on a Theme of Paganini - Variations 7-10
Rhapsody on a Theme of Paganini - Variation 11
Rhapsody on a Theme of Paganini - Variations 12-15
Rhapsody on a Theme of Paganini - Variations 16-17
Rhapsody on a Theme of Paganini - Variation 18
Rhapsody on a Theme of Paganini - Variations 19-24


Throughout my life Rachmaninoff and his music have had a special place in my heart. Even though I am Ukrainian and was born in Kiev many decades after the October revolution, I always felt a connection to the old pre-revolutionary Russia (the one Rachmaninoff knew and grew up in) and its spirit, which is always present in his music. My grandmother on my father’s side was representative of this true Russian culture. Her parents passed away when she was a little girl and she grew up with her grandmother, who lived most of her life in Pre-soviet Russia and who was still baring the traditions of the time. She passed it on to her granddaughter (my grandmother) whom I was very close to and spent a lot of time with during my early childhood. She introduced me to Russian literature and cinematography. Before starting school I was already reading Pushkin and Turgenev and saw the Russian film adaptation masterpiece of Tolstoy’s ‘War and Peace’. By the time I was 5 years old, I had my first crush – on Andrei Bolkonski.

My first acquaintance with Rachmaninoff was quite funny and also happened during early childhood (I must have been 6 or 7 years old). I remember my father practicing Rachmaninoff’s Concerto No. 3 when he asked me to help him at the very end of the finale, where there is a quite complicated rhythmical sequence. He wanted me to play together with him the orchestra part – I was so excited! It took me some time before I could read the rhythm properly, but soon after I was very proudly playing with my father on… pan covers! During this period my father was rehearsing Rachmaninoff all the time at home and I was already then falling in love with the incredible harmonies, powerful emotions and beautiful long melodies which can’t leave your heart indifferent.

The 1st Piano Concerto is a very unique combination of fresh youthfulness and maturity. Rachmaninoff wrote this Concerto at the age of 18, but he revised it 27 years later in the last few months

before leaving Russia forever. The concerto is incredibly beautiful and rich with very fresh, unexpected and beautiful harmonies! His harmonic language here is in a way even more complex than in the 3rd Piano Concerto or Paganini Rhapsody. The music is very emotionally powerful, full of colour and atmospherically imaginative. As an interlude between two large orchestral works, I included four of Rachmaninoff’s Preludes – four little sketches of Russia: Op. 23 No. 1: darker side of Russian soul – deeply tragic, dramatic and hopeless. Op. 32 No. 12: here we see a picture of a snowy landscape, sleds pulled by horses with little Reflections 193 Recording session Photo: Daan van Aalst

10 bells ringing on their necks, and the feeling of light melancholy and a long way ahead. Op. 32 No. 5: This is the prelude of fresh spring air, the scent of lilac which Rachmaninoff adored and the feeling of quiet ecstasy from uniting with nature and beauty. Op. 23 No. 2: Showing the bright side of Russian soul – festive Easter Church bells, jubilation and exultation, generosity and warmth, and a big loving heart! Rhapsody on a Theme of Paganini was the last big work Rachmaninoff wrote for piano. He wrote it in 1934 at his summer residence “Senar” which is located on Lake Lucerne in Switzerland. Shortly before recording this album, I was extremely fortunate to visit this special place which is now overseen by the Rachmaninoff Foundation. It was so special to visit Rachmaninoff’s home – everything is left just as if he was still living there. All the furniture, silverware…even sheets and towels are authentic. Of course the biggest treat for me was to try Rachmaninoff’s piano which he bought in 1930 and which is kept in absolutely perfect shape! In fact it is the very piano he composed Paganini Rhapsody on. Being at his studio, sitting at his table, playing on his piano, and diving into the atmosphere of his life – all this was the greatest inspiration I could imagine for recording his music.

This album is like an express train, taking us through the whole of Rachmaninoff’s life. From his student years when he was composing his 1st Piano Concerto through adult years when he wrote the Preludes, his departure to the USA when he revised his Piano Concerto and to the last years of his life when he was spending his summers in Lucerne, Switzerland, composing and scampering around on his speed boat. Rachmaninoff was never able to return to, or even visit his home country after emigrating from Russia, but his homeland always remained in his heart and is always reflected in his music. It was so special to embark on this Rachmaninoff journey with Jared Sacks, who always makes out of every recording session the most inspiring and creative process! I also couldn’t be happier to have the St. Gallen Symphony Orchestra and Modestas Pitrenas as my musical partners for this recording. – it was pure joy making music with them!

Anna Fedorova

Additional information








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Jared Sacks

Recording engineer

Jared Sacks

Recording location

Tonhalle Theater St, Gallen, Switzerland

Recording date

November 13-15, 2019


Bruel & Kjaer 4006, Schoeps


Van der Hul 3T


Pyramix Workstation / Merging Technologies

Mastering engineer

Jared Sacks


Grimm LS1

Press reviews


(…) le genie de la jeune femme irradie chacun des Préludes proposés en complément. Le stylet est bouleversant de simplicité et de retenue. (…)

AllMusic 5 out of 5

(…) Her playing is elegant, and in the upper registers, it has an unusual sparkling quality deployed to excellent effect in the four Preludes that form the central act of the program. She is also attractively reflective in the quieter passages of the Rhapsody on a Theme of Paganini, Op. 43. (…)

Audiophile Audition 6.25 out of 5

(…) The innate warmth of the St. Gallen string line has been well captured by Producer Jared Sacks. (…) As part of her “express train” traversal of Rachmaninoff’s development in this album, Fedorova provides us yet another, passionate reading of the 1934 Rhapsody on a Theme of Paganini, his final work for piano and orchestra. (…) the optimistically explosive Bb Major, Op. 23, No. 2, “the bright side of Russian soul – festive Easter Church bells, jubilation and exultation, generosity and warmth, and a big loving heart!” Here, Federova reveals something of the “Richter tradition” in large chords in splendid volume, massive, but without intrusive percussion and still singing.

Klassieke Zaken

(…) Dat de Oekraïense ‘iets heeft’ met Rachmaninov weten we sinds haar wereldwijd veel-bekeken YouTube-film van het Tweede pianoconcert (ruim 25 miljoen hits!). Haar populariteit gaat gelukkig gelijk op met de kwaliteit van haar spel. (…) ze houdt van Rachmaninov – hoorbaar in elke noot die ze speelt.

BBC Music Magazine (5 + 5 stars) 5 out of 5

“That Anna Fedorova has a special feeling for this work is not only evident in her introductory essay in the booklet: the way the second theme – the work’s first moment of quintessential Rachmaninov – emerges dream-like out of silence is very special.” (…) ”Fedorova’s reflective yet never over-indulgent style of playing is also evident in the preludes. Her technique is fluent but never facile – witness the crystalline textures of the G sharp minor Prelude. (…) the Paganini Rhapsody initially appears a scintillating and very extensive encore, demonstrating Fedorova’s fire and theatrical qualities…” PERFORMANCE: 5 stars, RECORDING: 5 stars


(…) Fedorova follows the concerto with a selection of four Preludes, beautifully capturing the echt Russian melancholy (…)


(…) With a skilful combination of sensitive elegance and brilliant virtuosity she sets down a performance that keeps the audience enchanted (…) What more can I say than recommending this release to all those seeking a revival of late romantic lyrical poetry, without any of the tearfully sentimental undertones it has sometimes in the past been given. (…) a big compliment to Maestro Pitrenas and his musicians! (…) the (surround) sound, in DSD 64 quality, is heavenly good (…)

Opus Klassiek

Een verhalenvertelster: geen twijfel mogelijk (…) het flonkerende, expressief diepgravende spel van Fedorova hield me bijna 70 minuten lang op het puntje van de stoel. Fascinerend ook hoezeer zij de vele stormachtige passages in zowel het pianoconcert als de rapsodie modelleerde en die ik zou willen kenschetsen als uiterst geraffineerd gecontroleerde onbesuisdheid.

Classics FM

(…) Her latest album is filled with 14 fantastic recordings. (…)


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