Artist: Sa Chen, Gulbenkian Orchestra, Lawrence Foster
Album: Rachmaninoff: Piano Concerto No. 2 in C Minor, Op. 18
Genre: Classical
Release Date: 2020
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 35:29
Total Tracks: 3
Total Size: 590 MB

Tracklist:

1. Sa Chen, Gulbenkian Orchestra & Lawrence Foster – Piano Concerto No. 2 in C Minor, Op. 18: I. Moderato (11:24)
2. Sa Chen, Gulbenkian Orchestra & Lawrence Foster – Piano Concerto No. 2 in C Minor, Op. 18: II. Adagio sostenuto (12:03)
3. Sa Chen, Gulbenkian Orchestra & Lawrence Foster – Piano Concerto No. 2 in C Minor, Op. 18: III. Allegro scherzando (12:01)

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Sa Chen here gives serviceable performance (in splendid sound) of two concerto warhorses. The Pentatone label seems to have cornered the market in surround sound recordings of the great concertos, but it was perhaps inevitable that their unbroken series of definitive recordings would inevitably move down from the Parnassian slopes – as here. These performances (while eminently musical) perhaps lack that final ounce of passionate commitment to be found in so many other concerti recordings on the Pentatone label. Nevertheless, a case can be made for these readings of two thoroughly musical performances, recorded in customary Pentatone splendour. (Classical CD Choice, Barry Forshaw)”Hyperion’s far-ranging Romantic Piano Concerto series, now approaching 60 volumes, has been incalculably valuable, if, for no other reason than for making us aware of the sheer profusion of concerted works written for piano and orchestra throughout the 19th and early 20th centuries. And while not every one of the compositions has been a masterpiece, many have struck me as being at least equal, if not superior, to Grieg’s contribution.

Now here comes Sa Chen, a young, prize-winning Chinese pianist, serving up yet another recording of Grieg’s battle-fatigued warhorse. Yet I have to say that if anyone can persuade me that it’s a better piece of music than I think it is, Chen is the one to do it. Her performance is a powerhouse packed with pianistic prowess. Ronald E. Grames, in his review of Chen’s Pictures at an Exhibition (Fanfare 33:3), quotes a friend as saying, “She plays like a man.” If by that he meant that Chen possesses the strength in her fingers, hands, wrists, arms, shoulders, and upper torso to send the piano’s keys right through the bottom of the keyboard and onto the floor, then I’d have to agree. But, of course, there’s more to her playing than sheer muscularity; she’s equally responsive to the music’s poetic gestures and moments of melodic suppleness. Grieg’s concerto has never sounded more convincing than it does in Chen’s performance.” (FANFARE, Jerry Dubins)