Ever since we started working with Stephen in 1996 recording these concertos has been on the agenda: it’s probably been the project closest to his heart. But it took several years before we found the orchestra and conductor that we felt would do justice to this important project. The combination of Dallas and Litton offers a conductor who adores Rachmaninov (he has recorded all the symphonies) and understands the works from a pianist’s perspective, an orchestra with a glorious and old-fashioned string sound of the kind with which the composer would be familiar, a hall to record in which is one of the best in the world, and let’s not forget Stephen Hough who has already won two Gramophone ‘Record of the Year’ accolades for his concerto recordings. As the results here triumphantly show, all our hopes have been fulfilled, and more. Apart from the ‘Paganini Rhapsody’, recorded after a concert performance, these are essentially ‘live’ recordings. Over a period of eighteen days eleven concerts were given, with each concerto being played several times. From these we have pieced together an ‘ideal’ performance—free of coughs, noises and the few musical mishaps which occurred, but still capturing the excitement of what was, by common consent, a sensational series of concerts.

These days a new recording of the Rachmaninov concertos has to be very special for it to be worth doing at all and it was not lightly that Hyperion proceeded with this project. Stephen’s very conscious return to the fast and lean performance tradition of the composer himself, avoiding the sentimental ‘Hollywood’ approach that has become so prevalent, coupled with the supreme level of the performances themselves has truly created a Rachmaninov cycle for the new millennium! ‘Stephen Hough is a pianist of immense finesse, who is incapable of playing a vulgar or exaggerated note.

And he has a steely technique, secure enough to carry him through four live recordings—which these are—with barely a slip  this is a wonderful release  Hough and Litton are more than scholars: they make living, flaming music from the ebbing and flowing speeds, the soloist's improvisatory airs, or the strings' willingness to revive the old portamento slide. The waves of energy at the finale's end are very exciting: no wonder the Dallas audience break out in cheers’ (The Times).

‘There just isn't a modern performer who delivers Rachmaninov quite like this—just as the composer intended  for sheer energy, vivacity and an intuitive understanding of the late-Romantic concerto, there are few who can equal Hough. The pieces here are taken from the previously released, much-acclaimed and award-winning two-CD set recorded live in 2004, so you can now hear the two best-loved pieces from the original.

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If you missed out first time round, don't hold back now!’ (Classic FM Magazine). ‘This is the best set of Rachmaninov Piano Concertos ever recorded. You have no idea how hard I worked not to come to this conclusion, knowing full well just how skeptically such a claim is likely to be received. I compared Stephen Hough to multiple Ashkenazy renditions, to Earl Wild, to Zoltan Kocsis, to Argerich, Rubinstein, Richter, Rodriguez, and Horowitz. I ploughed through several obscure Russian recordings, two cycles on Naxos, and a slew of EMIs.

I re-auditioned Pletnev and sampled two separate remasterings of Rachmaninov's own performances. I listened with scores, then waited a few days, and then tried again without them. I played these discs to colleagues, to friends, and to people whose musical judgment I trust as much if not more than my own. But the conclusion was inescapable: there never has been a complete cycle at this level of consistent excellence.

There's no doubt about it’ (Classics Today).