For me, it's the slow movement that stands out. How does she achieve that eerie telepathic union with the woodwind players? And of course the endlessly elaborated hemiola is hypnotic.
I wish Anna would perform the etudes-tableaux. She has promised me that she will learn and program the first piano sonata, though, so that's enough for me.
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Also, worth nothing: Rachmaninov wrote a huge amount of vocal music (more than just about any of his contemporaries) and lots of large, ambitious sets of variations (ditto.) I have always felt that the composition of variations is where you see the true measure of a composer.
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