Artur Rodzinski and Dimitri Mitropoulos trim similarly in their 1940s sets although, given Rachmaninov’s passivity about the whole business, no standard template existed. Plentiful reminiscence leads to a tintinnabular cascade across different sections of the orchestra (again sometimes missing). Decca 444 8392. In the Adagio, Fischer can surge with the best of them while remaining strangely dry-eyed. Re: Best recordings of Rachmaninoff's Concertos 1, 2, and 3? Composed between 1906-1907, and premiered in 1908, the symphony was the Russian composer’s second attempt at writing for a full orchestra. How helpful is the recent vogue for including the first-movement exposition repeat? Both ensembles sound committed but Previn’s less frenetic tempo elicits cleaner rhythmic definition in the scherzo, whose big tune now comes twice with its dash of Hollywoodish portamento. Other notable absentees include James Loughran (CFP, 9/74) and Andrew Litton (Virgin, 5/90), the latter an early advocate of the first-movement exposition repeat. Read more reviews of the latest Rachmaninov recordings here, Find out more about Rachmaninov and his works here. 3. Only Janssons comes close to the passion needed for this symphony. Previously, as many as 20 minutes had been cut from the full 1-hour-long masterpiece, virtually all approved by (but surely not approved OF) the composer. Close-miking creates an impression of heartless ferocity as the late Lorin Maazel drives the Berlin Philharmonic through what must have been unfamiliar fare. And the great technician claimed to have developed a passion for the composer. This remains competitive, at once red-blooded and light on its feet, with a particularly vivacious scherzo, its molto cantabile less schmaltzy than Previn’s. Previn previously recorded the 2nd, with the usual cuts, for RCA in 1966. Sviatoslav Richter (piano)Warsaw Philharmonic Orchestra/Stanislav Wislocki (1959)DG 447 8584. 44 This page lists all recordings of Symphony No. The Russian National Orchestra will dazzle you with this all-Russian concert, which will also feature Shostakovich’s Symphony no. EMI 392 7472. By now the floodgates were opening, though few releases retain such a firm place in listeners’ affections. The Symphony is another matter. Rachmaninov Symphony No.2 LSO/André Previn Since its original release, Previn’s 1973 London Symphony Orchestra account has been a perennial favourite and this stunning re-mastered edition confirms even more its status as one of the greatest recordings of the last century. Owain Arwel Hughes, broader still, cannot muster comparable intensity. Superb in Every Respect February 15, 2017 By Henry S. (Springfield, VA) See All My Reviews " Rachmaninoff's Symphony #2 qualifies as an orchestral 'chestnut', a work which risks a bit of overexposure due to its immense popularity with concert audiences and classical radio stations the world over. True, the recording’s soft-grained, saturated string sound is too much for some tastes, notwithstanding the band’s evident sincerity and refinement. Receive a weekly collection of news, features and reviews, David Gutman It was the summer of 1934. MA Music, Leisure and Travel Launched in festive vein, the finale continues with a march-like episode and a thrusting lyrical efflorescence determined to break the mould of stepwise melodic motion. Incidentally, the conductor did not always adopt a drastic unmarked allargando into the work’s clinching lyrical climax. Never one to wear his heart or virtuosity on his sleeve, Rachmaninov brings a sleight-of-hand deftness and tantalising restraint to a score that in less subtle and supple hands is often pulverised into submission. Josef Stránsk≥, Mahler’s successor at the New York Philharmonic, claimed approval for 29 of them. But how much interpretative flexibility did this much-travelled musician anticipate as a matter of course (unmarked gear changes being routinely favoured by native Russians even today)? More innovative is David Zinman’s carefully prepared Baltimore disc in which the conductor embraces a high incidence of old-fashioned portamento (that irksome timpani stroke is not banished). 2 by Rachmaninov has been reviewed: BBC Philharmonic Orchestra/Gianandrea Noseda rec. Rachmaninov’s scores are frugal with expressive indicators, unlike Elgar’s or Mahler’s. +1 for Martha Argerich/Riccardo Chailly's Rach 3 with the Berlin RSO. The score calls for three flutes and piccolo, three oboes and english horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three 2 in E minor, Op. Kurt Sanderling’s mono recording, expertly engineered in Berlin rather than Leningrad/St Petersburg, makes no cuts in the middle movements and two tiny snips in the first are easily missed. 3 in A minor, Op. If the orchestra’s sonority is not over-rich, its playing is ardent, string lines beautifully shaped. Browse: Rachmaninov - Symphony No. The premiere was conducted by the composer himself in St. Petersburg on 8 February 1908. All sympathetic listeners agree that the Second Symphony contains the very best of Rachmaninov. His essential Russianness wowed the Soviets even when his notes were set down abroad. In top-notch sound, Iván Fischer offers a maximally deft, ultra-refined option, pitched somewhere between Pletnev and Zinman. Alexis Weissenberg (piano) Refusing to restore that, Sanderling plumps perversely for the first-movement repeat in his sluggish Philharmonia remake. Just two outings predate 1973. | 3 in A minor from among available versions. Symphony No. Eugene Ormandy includes most of what Sanderling removes there but much less of the rest in Minneapolis, 1934 (HMV, 10/35). The Scherzo is fast and articulate (particularly in transitional passages which risk treading water). The first movement is relatively low-key until storm clouds gather convincingly in the development. Ten years before, however, the abject failure of his First Symphony had robbed him of his confidence and plunged him into a dark depression. Ormandy looks bored. The Rachmaninov dream team of the 1970s play this much-hackneyed score with a freshness, moving sincerity and exhilarating emotional power that galvanises the attention from start to finish. Stokowski and his ‘fabulous’ Philadelphians follow him every inch of the way. 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