longtime favorite recording (of the Shostakovich Concerto) has been
with Argrich and Faerber on Deutsche Grammophon which features
trumpet playing of Guy Touvron. But I think this
version with Rankovich now takes
pride of place. It's really quite
Jerry Dubins - Fanfare
like about Rankovich's performance is that she's not afraid to get
bloody kneading the raw meat. She doesn't try to sanitize
the music, but plays it for
what it is and all it's worth. the only
other version I know that matches Rankovich
for fearless foulness
is Martha Argerich's Deutsche Grammophon recording, and that's
Jerry Dubins - Fanfare
"One can find evidence of her
musicality on nearly every page here - for
throughout the recital,
she fuses firm technique with unfailing interpretive
produce performancesof consistently striking character."
Peter J. Rabinowitz - Fanfare
"Rankovich, one of those miracle
musicians who can make musical architecture
breathe and come alive,
can also thrill you just with her sound. I have seldom heard
climax to phrases so tellingly prepared for and placed without losing
sense of the thrust of the entire movement. Most of the works here
a pianist this good. Certainly the Crestons don't, despite
their genuine attractiveness.
Still, she lavishes her considerable
musicianship on them and makes a persuasive
case. You know just how
good a musician she is when you realize that the Creston
and the Giannini
works are premiere recordings. To all intents and purposes, she's
moonwalker. She hasn't heard these pieces before. Later interpreters
will take her
readings into account."
Read the Full Review
"Finally came Tatjana Rankovich,
whom I've heard for the first time. Her first piece was Robert
Desperate Measures (1994). You might very well ask, "Who needs
another Paganini Variations?" Apparentlythe audience tonight
did. Mr. Muczynski's variations are not as virtuosic when compared
to those of Brahms and Rachmaninov, but still fierce and demanding.
The most interesting of them was No. 11 with its dance-like rhythm
and jazzy scales. Ms. Rankovich gave each variation its own character
deriving an endless amount of sonorities. By the end of the last variation,
which ends in an ethereal chord, I imagine many in the audience were
ready for another twelve.
The Fugue, Interlude and Finale (2002) from Bruce Stark was the last
piece. Immensely difficult to play, the fugue was fitting for Ms. Rankovich's
talents, which were needed to bring out the almost transparent third
and fourth voices. The subjects sometimes appear as mere accompaniments
and they demand extra attention from the listener, and I can't presume
to have understood the piece completely from my initial exposure. The
quieter middle interlude is designed to draw unique sonorities from
the piano. Its Zen-like quality soon gives way to the frantic finale,
which is highl virtuosic. Tatjana Rankovich pulled off this segment
without any apparent difficulties and walked away from the music wrestling
against itself as the clear winner."
-Alain Matlon- Musicweb International-January
- June 2008
"The second half belonged to Tatjana
Rankovich (who teaches at Mannes College of Music), with the world
premiere of Mr. Rubenstein's Romance No. 2 (aurora), a graceful exercise
in legato simplicity occasionally diving into more complex pools. Her
introspection matched the composer's, whose inspiration seemed not
far from say, Scriabin, but with tiny touches showing an introspective
mind at work. She ended the evening with four of Henry Martin's Preludes
and Fugues, a set mirroring the layout of Bach's Well-Tempered Clavier.
The slight acidity and irregular meters of No. 7 are followed by the
delicate prelude of No. 4, which ends with a thunderous fugue. No.
9 begins with a scherzo flirting with tango, and in No. 13, subtitled "A
Slow Drag," the prelude's main theme combines with the fugue in
a virtuosic finish. These are hardly pieces for the timid or those
without expert chops, and Rankovich seems to know them inside and out,
always making Martin's voicing easily audible and playing with casual
brilliance, lightness and humor."
-Bruce Hodges Musicweb International.com Jan-Jun
"As a chaser to the Gershwin Piano
Concerto, one could hardly do better than Nicolas Flagello's piano
concertos. In them one finds a similar energy, brashness and soaring
lyricism, but suffused with the existential component of a life intensly
agaist the grain. The album listed features the 22-year-old's first
Piano Concerto, animated with blazing conviction by the astounding
Tatiana Rankovich. An Absolute Classic!"
-Adrian Corleons, Fanfare, November/December
an Interview with Tatjana Rankovich
Interview with The Wall Street Journal
Flagello: Piano Concerto No.1 / Dante's Farwell / Concerto Sinfonico
Artek Recordings Review
"...More than simply an accomplished pianist, she is an intelligent artist,
capable of bringing to life a work that has never been played before, and making
it sound like an established masterpiece."
"...performed with an exquisite
touch, and displayed commanding and deeply probing qualities of expression."
- La Libre Belgique, Brussels
"Her artistic and technical mastery
allows her to attain rigorous perfection of execution without sacrificing
the necessary quality of creative fancy."
- Gazetta Del Sud, Catania, Italy
"Tatjana Rankovich displayed a
richness of artistry and a depth of commitment which assure her a future
on the concert stage."
- NIN, Belgrade
"She achieved a perfect balance
of structural clarity, tonal resonance, subtle nuance and expressive
abandon while preserving a flawless continuity."
- Le Soir, Brussels
"Tatjana Rankovich's interpretation
of the Liszt A Major Concerto was at once subtle and powerful. Her
playing had a truly extraordinary charm and beauty."
- Borba, Belgrade