Rachmaninov's Symphonies Nos 1-3
Rachmaninov's Complete Symphonies
The Gramophone Choice
Symphonies Nos 1-3. Symphonic Dances, Op 45. The Isle of the Dead, Op 29. Vocalise (arr cpsr). Aleko – Intermezzo; Gipsy Girls’ Dance
London Symphony Orchestra / André Previn
EMI 764530-2 (3h 47' · ADD) Recorded 1974-76. Buy from Amazon
Rachmaninov’s three symphonies reflect three very different phases in his creative development: the First (1895) is a stormy synthesis of contemporary trends in Russian symphonic music, the Second (1906-07) an epic study in Tchaikovskian opulence, and the Third (1935-36) a seemingly unstoppable stream of original ideas and impressions. The Second was the first to gain wide acceptance, and with good reason. It shares both the key and general mood of Tchaikovsky’s Fifth. Cast in E minor, its initial gloom ultimately turns to triumph, and the symphony includes enough glorious melodies to keep Hollywood happy for decades.
The First Symphony had a difficult birth, largely through the incompetent musical midwifery of Alexander Glazunov, whose conducting of the work’s premiere apparently left much to be desired. However, it’s an immensely promising piece and, although undeniably the product of its times, prophetic not only of the mature Rachmaninov, but of other Northern voices, including – occasionally – the mature Sibelius. Both the Third Symphony and its near-contemporary Symphonic Dances find Rachmaninov indulging a fruitful stream of musical consciousness, recalling motifs and ideas from earlier compositions, yet allowing gusts of fresh air to enliven and rejuvenate his style. Both works have yet to receive their full due in the concert hall, although the strongly evocative Isle of the Dead is more securely embedded in the repertory.
What with these and a trio of warming shorter pieces, André Previn’s mid-1970s LSO package is an excellent bargain. The performances are entirely sympathetic, avoiding familiar interpretative extremes such as slickness, bombast and emotional indulgence. Previn shows particular understanding of the Third Symphony, the Symphonic Dances and The Isle of the Dead, works that represent Rachmaninov at his most innovative and assured. The Second Symphony is played without cuts and the recordings are generous in tone and revealing of detail.
Additional Recommendation
Symphonies Nos 1-3
Concertgebouw Orchestra / Vladimir Ashkenazy
Double Decca 448 116-2DF2 (140' · DDD) Buy from Amazon
Ashkenazy has made few more distinguished discs as conductor than his Rachmaninov symphony recordings of the early 1980s. The downside of the repackaging in this two-CD format is that you have to put up with a change of disc halfway through the Second Symphony and lose the shorter orchestral works included in the Previn set. Previn is the most natural but not always the most electrifying of Rachmaninov interpreters and many will find Ashkenazy preferable, particularly in No 1. Although some of Ashkenazy’s speeds seem unnaturally pressed – he fairly tips us into the first movement reprise, having declined to cap the climax with unvalidated bells – the excitement is infectious. Previn’s LSO isn’t at its best in the Larghetto but in the corresponding movement of the Second Symphony the boot is on the other foot. Not that Ashkenazy isn’t convincing too – so long as you can forget the Previn. Ashkenazy’s volatile approach is at its most extreme in the Third, the mood much less autumnal than it usually is, with the fruity Concertgebouw brass unconstrained. Such an unashamedly episodic rendering of the score has its drawbacks but the virtuoso energy and Romantic gush are hard to resist. The recordings sound very well indeed.
