Sergey RACHMANINOV (1873-1943)
Symphony No. 3 in A minor
Spring
Three Unaccompanied Choruses
Tigram Martyrosyan (bass)
Russian State Symphonic Cappella Russian State Symphony Orchestra under Valeri
Polyansky
CHANDOS CHAN 9802
[73:33]
Crotchet
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I have been very impressed with Polyanski's interpretations of Glavunov's
symphonies, in the series now unfolding on Chandos, and so I was eagerly
looking forward to reviewing this disc. I have to say, though, that I was
disappointed, on first hearing this reading of Rachmaninov's Symphony
No. 3, but on subsequent listening, I have grown to like it more. The
difficulty I found was in the languid, lingering treatment of those melancholy
Slavic episodes especially in the first movement and to a lesser extent in
the middle of the final Allegro. The extremities of that movement have plenty
of drive as have the climatic moments of the first movement where the music
excites and has enough emotional charge to meet any criticism. The middle
movement is more successful overall with lots of energy especially in those
quirky martial episodes. Having said all that, I hasten to add that Polanski's
reading is very polished and smooth and he reveals many little nuances and
felicities that are normally lost in the texture of more hurried readings.
Personally I would regard this recording as an interesting alternative. I
much prefer a more vibrant, more overall thrilling and vividly coloured reading
of Rachmaninov's Symphony No.3 like that of Mariss Jansons with the St Petersburg
Philharmonic Orchestra on
EMI
CDC 7 54877 2, coupled with Rachmaninov's Symphonic Dances.
Rachmaninov composed Spring in 1902, the year he married his
beloved cousin, Natalia Satina, although its subject, a cuckolded husband
brooding on murdering his wife, would seem an odd choice for such a happy
time? It is a work for baritone, chorus and orchestra (although Tigram
Martyrosyan is billed as a bass). Beginning in the depths of the orchestra
the texture lightens a little when the chorus enters to proclaim the arrival
of Spring. The disillusioned soloist mournfully recalls how he had learnt
of his wife's betrayal and how the thought of vengeance had been gnawing
at him all through the winter. Martyrosyan is expressively devastated and
reproachful. The choir then sing of the burgeoning of Spring, the birdsong,
the blossoms etc as the music becomes warmer and more colourful. The soloist
at last becomes conscious of the season and "The savage idea fades away,
the knife falls from my hand…", and the work ends in a jubilant celebration
of love, and Spring and new beginnings.
The Three Unaccompanied Choruses, although on secular as well as
liturgical subjects, are closely related in style to Rachmaninov's Vespers.
The first two choruses are to texts by A.K. Tolstoy. The first, Panteley
the Healer is a rather free composition, intense and dramatic about Lord
Panteley gathering beneficial herbs to make potions, and wagging his stick
at the poisonous plants in his path. Chorus of Spirits for Don Juan,
is a very brief but lovely, gentle piece in a rocking rhythm. Equally sublime,
is the more substantial nine-minute O Mother of God, vigilantly praying
which has a more complex structure and really constitutes a concerto for
choir.
In conclusion: there are better versions of the Symphony but this album is
worth considering for the luminous beauty of the Three Unaccompanied Choruses
and to a lesser extent Spring.
Reviewer
Ian Lace
