Rachmaninov himself made an arrangement of his Olympian Piano Concerto No. 3, which he played with Vladimir Horowitz (Horowitz took the solo part). During his study of Rachmaninov’s arrangement, Jeffrey Reid Baker noticed how “linear the writing was” now that it was “devoid of the orchestral color”. This did not prevent him, however, from making additions to Rachmaninov’s score, such as creating a dialog for both pianos in the cadenza and reinstating some missing orchestral figures from Rachmaninov’s original. Listening to Baker’s overdubbed performance of both parts, I was freshly made aware of just what a juggernaut of notes this piece really is, and what a formidable challenge it is to the pianist’s skill and endurance. Baker certainly possesses these qualities in ample amounts, and I couldn’t help but be impressed as he ripped through the finger-fracturing runs of the first and third movements, even if I found his approach to be a little unyielding (probably the result of him having to stay predictable so he could accompany himself). Baker’s arrangement of the Cello Sonata makes for a highly effective and enjoyable two-piano work, in some instances (the first movement in particular) more satisfying than the original version. (Baker also improvises an interlude as bridge between the two works).
It’s really too bad that the recording is so crummy. It sounds like a lot of reverb was added to create the illusion of two pianos in one space, but whatever it is, it makes the piano sound like a Casio keyboard. I’m afraid this echo-ridden, bodiless recording all but ruins Baker’s hard work. A pity. Still, there are those for whom such concerns are meaningless, and they should investigate this unique item.
