Musically these recordings are always better than
dependable and often brilliant - an attractive buy with three
discs at bargain price. This is part of a whole raft of EMI’s
triples which vies with the long established Universal Trio
range.
The First Symphony
is tautly controlled and dynamic like the ripping back of giant
drapes to reveal a darkling plain where ignorant armies clash
by night. Stormy and angry - parallels with Svetlanov here - the
strings are finely grained without the aureate weight and claustrophobia
of Ormandy's Philadelphia set (Sony Essential Classics) yet also
without the emotional rawness Svetlanov (Warner). The finale has
a tight and sharply etched rhythmic rap. The effect en masse
is big though not opulently toned. The Isle of the Dead
breathes and laps - a black oleaginous welling up. It reminded
me of Herrmann's music for the 'Rosebud' episode in Citizen
Kane. Vocalise is tender and rich - as good as Previn's
1970s version but more controlled than the Moffo/Stokowski on
BMG. Jansons' Second Symphony is cogently argued with surprising
impressionistic touches. It has a swart muscular swell and rise
suggestive of threat and foreboding. The recording of the Third
Symphony showcases the exceptional dynamic range of these discs.
In it Rachmaninov is most like Bax with many a shudder and gently
coaxing susurration. In the second movement (at 10.20) comes the
first indication of Russian vibrato from the French Horns. I was
pleased to hear it. The first flute of the St Petersburg is breathtakingly
flighty if not quite up to Philadelphia standard. This is an orchestral
showpiece par excellence yet as poetic as any of Rachmaninov's
romances. The symphony ends in a colossal gallop.
While the Third Symphony is very good, Jansons'
Symphonic Dances are even better. The orchestra croaks,
squawks, stalks and whispers and when it picks up speed there
is no loss of definition. The oboe duet with the saxophone in
the first dance is most poetically done. The Second Dance is
an accentuated hyper-Prokofiev, psychological waltz with touches
of Tchaikovskian regret (Eugene Onegin). The flute swirls
impress but are not as artificially close as those of the classic
1960s Kondrashin (Melodiya). The brass have a most imperious
presence. In the final dance the orchestra's split-second gatling
attack has a vicious edginess and smashing defiance with a walloping
thump to the climactic blasts. This is a grand conception luxuriantly
executed though it lacks the iron will Kondrashin brought to
his Moscow recording.
Connoisseurs of the symphonies will go for Svetlanov,
Previn, Ashkenazy or Ormandy; the latter on Sony Essential Classics
is my personal top choice - though I am torn between this and
the old BMG-Melodiya Kondrashin. The Second Symphony can be had
in a smashing though rather rapid version by Jose Cura (Avie)
and there’s an impressive and expansive but effective wallow by
Kurt Sanderling (Warner Elatus). The Symphonic Dances are
fervently done by the otherwise rather languid Polyansky on Chandos
and now as part of a stunning bargain double on Brilliant Classics.
Of the symphonies the Third as well as the Symphonic Dances
and The Isle of the Dead are superb. The other two
symphonies receive very good readings. Everything is accorded
a lively recorded image and the trilingual notes by Andrew Huth
complete an attractive purchase.
Rob
Barnett