CHOPIN, F.: Piano Concerto No. 1 / Fantasy on Polish Airs / Rondo a la krakowiak (Nebolsin, Warsaw Philharmonic, Wit) 8.572335
CHOPIN, F.: Piano Concerto No. 2 / Variations on La ci darem / Andante spianato and Grande polonaise brillante (Nebolsin, Warsaw Philharmonic, Wit) 8.572336
DOHNANYI, E.: Variations on a Nursery Song / Symphonic Minutes / Suite (Nebolsin, Buffalo Philharmonic, Falletta) 8.572303
LISZT, F.: Piano Concertos Nos. 1 and 2 / Totentanz (Nebolsin, Royal Liverpool Philharmonic, Petrenko) 8.570517
RACHMANINOV: Preludes for Piano (Complete) 8.570327
SCHUBERT, F.: Piano Sonatas Nos. 4 and 13 / Wanderer Fantasy (Nebolsin) 8.572459

Eldar Nebolsin comenzo grabando para Naxos en 2007 con los Preludios de Rachmaninov. Desde entonces ha recorrido Conciertos y obras para piano y orquesta de Chopin, Liszt y Dohnanyi, hasta llegar a su ultimo disco con el piano de Schubert, en el que ha vuelto a encerrarse solo sin mas compania que el mismo, como hiciera con aquel Rachmaninov, unos Preludios (Op. 3/2 y Opp. 23 y 32) de un colorido deslumbrante, ritmicamente intensos y con una capacidad expresiva emocionante. Para cualquier pianista proveniente de la antigua Union Sovietica estas obras son como una ducha diaria, practicamente estan en la “rutina” habitual de cada pianista. Nebolsin los escucharia por los pasillos de los conservatorios, pero esta familiaridad no ha convertido su interpretacion en una mas, pues la capacidad para extraer finas sensaciones de cada preludio es un acierto que no cae en la exhibicion sonora sin tener por que, como les ocurre a muchos pianistas con estas obras, que apabullan pero cayendo en el vacio robando su alma. Desde el Op. 23/6, un Preludio que Gilels adoraba y que en Nebolsin suena con una exquisitez creativa admirable, al Op. 23/10, cantado con una ternura maravillosa, todo el ciclo de la Op. 23 es de una belleza magistral, a la altura de las mas grandes recreaciones. La densa sonoridad de Rachmaninov, creada por una continuidad incesante de notas y una asfixiante armonia, es para el pianista uzbeko un reto que se convierte en claridad (Op. 32/1) y verdadera poesia (Op. 32/5).

La obra completa para piano y orquesta de Chopin conto con Wit y la elegante Filarmonica de Varsovia, en interpretaciones que rebosan placidez y elegancia, pura belleza sonora, con un punto de vista mas lirico que dramatico. Puede ser que la direccion sea menos “arriesgada” que otras recientes (Mehta, Nelsons, Fisch), con cierta correccion, pero el more....

Review By Anthony Clarke,Limelight Magazine,November 2007

This immediately becomes one of my favourite recordings. Rachmaninov’s Preludes are rarely heard or played as a single entity, perhaps because their composition spanned 45 years.

Rachmaninov most probably never intended that all 24 of these short pieces should be heard as a single collection, as we are used to hearing the more familiar Chopin preludes. But these miniatures demand to be heard as a complete suite when we are given such accomplished playing as this. The kaleidoscopic shifts of rhythm and emotion are simply breathtaking.

Naxos has done it again. Nebolsin is a Russian pianist with all of the technical skills necessary to handle this difficult music. More important is his musical ability to make far more of the Preludes than a mere splattering of notes and empty bravura. While I have heard more thrilling execution, with greater abandon, most all of these performances are fully satisfying.

Still, there is a certain lack of sparkle in some of the passagework. The playing is always exceptionally clean, and use of the pedal exemplary, but can anything replace Rachmaninoff himself in this repertory?

Grade: A

RICH RANGE: Spanning 4 ½ decades, the two sets of piano preludes and the early Prelude in C-sharp minor by Rachmaninoff (or Rachmaninov, as this label spells it) span a similarly wide range of textures and soul-states. Tender nostalgia brushes cheeks with turbulence, fireworks with Old World finery. And are there three more sublime minutes in the entire piano repertory than the G major Prelude (Op. 32, No. 5)?

a new budget-priced disc by by young Russian pianist Eldar Nebolsin of Rachmaninov’s Preludes complete is close to stunning. Nebolsin’s is a truly exceptional excursion into the music of Rachmaninov, one of the most-played composers by keyboard gymnasts eager to unleash digital thunder and lightning. Young (33-year-old) Nebolsin has won his share of prizes, but his complete Rachmaninov preludes—including that warhorse in C-sharp minor, Op.3 No. 2—reveals that other Rachmaninov, not the deviser of showpieces but that tragic conservative and remarkable composer magnificently trapped out of his time.

Eldar Nebolsin first came to my attention in 1994, when the pianist (19 at the time) recorded an exciting and energetic Chopin B minor sonata for Decca. Judging from his Rachmaninov Preludes, recorded in January 2007, Nebolsin has evolved from an unbridled keyboard whiz into a thoughtful artist who channels his virtuosity toward serving the music. He takes his sweet time over the C-sharp minor Prelude's opening section, yet his keen sense of nuance and timing not only prevents the music from dragging but also sets up a contrasting context for the torrential middle section that follows.

Nous avons beaucoup de chance avec les Préludes de Rachmaninov en ce moment. Après la miraculeuse version Berezovski, voici, avec le disque d’Eldar Nebolsin, une version économique de haut calibre.

Sur un piano très bien réglé mais enregistré de (un peu trop) près, Nelbolsin, 33 ans, possède les qualités requises du grand rachmaninovien: un son puissant, qui vient du corps et pas seulement de la frappe verticale; un sens de l’agogique rachmaninovienne sans atermoiement et un bonheur égal à habiter les Préludes intimes et les morceaux de parade.