Pyotr Il’yich TCHAIKOVSKY (1840–1893) Swan
Lake Suite, Op.20 (1875-6) [39:24]
Sergei RACHMANINOV (1873–1943) Symphonic Dances, Op.45 (1940)
[35:11]
St Petersburg Philharmonic Orchestra/Yuri Temirkanov
rec. Great Philharmonic Hall, St Petersburg, 14 April 2008 (Swan Lake); Lucerne
Concert Hall, 26 August 2008 (Symphonic Dances). DDD
SIGNUM CLASSICS SIGCD229 [74.38] 
For some years now Signum have been spreading their wings beyond the solo,
chamber, choral and organ territories I used to associate with their name.
This is the fourth of the label’s St Petersburg/Temirkanov series: Verdi Requiem
(SIGCD184),
Shostakovich’s Symphony No. 7 (SIGCD194)
and Prokofiev Cinderella/Romeo and Juliet Orchestral Suites
(SIGCD214).
Temirkanov is under-appreciated and his Tchaikovsky is doughty as the old
RCA-BMG
symphony series goes to show. His Swan Lake suite – the first of two
dance-related works here - is full-on and thoroughly enjoyable. Quite apart
from the usual swooning highlights I was struck by his Danse Napolitaine
in which these forces embrace the Capriccio Italien-style bombast
of the piece in an unembarrassed bear-hug.
The suite comprises:-
Act II, No.10: Scene
Act I, No.2: Valse
Act II, No.13/iv: Danses des Cygnes
Act II, No.13/v: Pas d’action
Act III, No.20: Danse Hongroise, Czardas
Act III, No.21: Danse Éspagnole
Act III, No.22: Danse Napolitaine
Act III, No.23: Mazurka
Act III, No.27: Danses des petis Cygnes
Act III, No.29: Scène Finale
Turning to the Rachmaninov … Temirkanov obviously has a penchant for the Symphonic
Dances. He has several CDs of the work in his discography: BMG-RCA 09026
62710 2 and one of his Proms performance in 2004 on Warner 2564
62050-2. The Signum version is particularly passionate and the middle
movement boils, bubbles, rips and snorts with a will. The woodwind solos are
done with great skill and a pleasing sense of caring and shaping is present
that I have not heard before. The final dance roars and swoons mightily and
Temirkanov insists on and gets plenty of grunting attack.
The Lucerne acoustic produces a more grittily immediate sound image than that
for St Petersburg – not much in it but the difference is there as you can
hear in the prominence asserted by the percussion. The recording generally
reports plenty of detail and is assertively kind to the saxophone in the Rachmaninov.
The useful note by M. Ross reminds us how devastated Rachmaninov was by the
poor reception of his Symphonic Dances’ 1941 premiere at Philadelphia.
It was the 70-year old composer’s first major work to have been written entirely
in the USA.
The audience are quiet in both works but their outburst of applause at the
end of the Rachmaninov tramples on the decay of the tam-tam which really should
have been allowed to ‘vibrer’ into black silence.
Rob Barnett
Good concert performances with the Rachmaninov enjoying more than its fair share of eminent moments.