Sergei RACHMANINOV (1873-1943)
Three Dances from Aleko (1892) [12:16]
Symphony No. 2 in E minor, Op. 27 (1906-7)* [60:38]
Royal Liverpool Philharmonic Orchestra/Vasily Petrenko
rec. 28 April 2012; *1-2 November 2011, Philharmonic Hall, Liverpool. DDD
EMI CLASSICS 9 15473 2 [73:05]
The very first disc by Vasily Petrenko and the RLPO that I reviewed was
their
outstanding coupling of Rachmaninov’s Symphonic Dances and
Isle
of the Dead. In that review
I expressed the hope that they would record the Second symphony. Now, some
three
years and several well-received discs later, they have done so. It seems
clear
that a symphony cycle is in progress because this follows fairly hot on
the
heels of a recording of the Third Symphony that I welcomed
back in May 2012. In fact, my colleague, Ralph Moore selected that as one
of
his Recordings
of the Year for 2012. In so doing he commented that the RLPO is
“reinvigorated”
under Petrenko’s leadership. I agree and this disc provides further
proof
of that reinvigoration.
Petrenko’s new recording is up against some formidable competition,
including
the classic André Previn/LSO reading. Another strong challenge
comes
from a recording by Valery Gergiev, which I reviewed
not long ago. Since then I’ve been listening also to an LSO
recording
conducted by Gennadi Rozhdestvensky (review)
which I’d overlooked and to which my attention was kindly drawn by
MusicWeb
International reader, Martin Walker. There are a good number of other
recordings
with excellent credentials, as a look at our Masterw
orks
Index will show. The size of the field is in itself eloquent testimony
to
how highly the symphony is regarded nowadays after a long struggle to
establish
a secure place in the repertoire.
I think Petrenko miscalculates slightly at the very start of the symphony.
The
motto theme, which is given out straightaway by the lower strings, is so
quiet
that it’s insufficiently distinct. I played all three of the
versions
mentioned above at the same volume setting and in each case the theme
emerges
quietly but clearly. Actually, in the case of the Previn it’s too
present
unless one reduces the volume setting because his recording, made in 1972,
is
cut at rather a high level and, as a result can sound a bit brash at
times.
Petrenko is spacious in his treatment of the introduction and I wondered
if
he was a little too spacious but, in fact, reaching the Allegro at 4:46
he’s
pretty much in line with Previn and Gergiev: Rozhdestvensky is a touch too
expansive,
I think; the Allegro arrives at 5:10 in his performance. I must say,
however,
that though the stopwatch might suggest otherwise I felt Previn’s
conducting
invested the introduction with slightly more of a sense of forward
momentum
than does Petrenko’s. Previn’s recording was one of the first
to
eschew the damaging cuts that many conductors had inflicted on the score -
indeed,
my copy of its first CD incarnation proudly carries the statement
“complete
version”. However, in one sense Previn’s performance is
incomplete;
he doesn’t make the repeat of the first movement exposition, which
involves
some four minutes of music. Petrenko, I’m glad to say, follows the
example
of Gergiev and Rozhdestvensky in observing the repeat. That can make the
first
movement very long unless the performance is a good one; Petrenko
justifies
the inclusion through the quality of his performance.
I enjoyed Petrenko’s account of the main body of the first movement
though
there were one or two instances where I felt he could and should have
moved
the music on just a little more; one such instance is Rachmaninov’s
lingering
passage - it’s lingering under all our four conductors - immediately
before
the development section. The development itself (from 13:13) is handled
pretty
convincingly by Petrenko and there’s a satisfying amount of dramatic
thrust
in the performance. The RLPO, reinvigorated by their music director, as
Ralph
Moore so justly observed, play keenly and strongly for him. Just once or
twice
Petrenko is a little too ready to indulge Rachmaninov’s temptingly
indulgent
phrases. One example that caught my attention is the passage from 18:56
where
we hear once more material that first appeared in the exposition (at
6:27).
I think that on its first appearance Petrenko took it marginally faster
than
he does at 18:56 and the fleeter tempo works better. The concluding pages
of
the movement come off very well indeed; Petrenko makes this passage lively
and
exciting. Overall, I think the first movement is a success and the
performance
competes well with both Previn and Gergiev. Though I enjoy
Rozhdestvensky’s
account, not least on account of the sumptuous LSO playing, I think he can
be
too broad in his approach to this movement. Significantly, his performance
comes
in at 24:30, whereas Petrenko’s and Gergiev’s timings are
broadly
in line with each other at 23:22 and 22:39 respectively and Previn’s
18:59
would be comparable but for the omission of the repeat.
Rozhdestvensky’s version of the scherzo is uncompetitive: his tempi
are
far too deliberate for my taste. The other three versions are all very
exciting.
Petrenko launches the movement propulsively, getting the RLPO to
articulate
the rhythms strongly. When Rachmaninov introduces one of his trademark
longing
string melodies (1:17) Petrenko gives it full value and ensures the music
is
warmly phrased. At the meno mosso (3:30) the fugal music is
strongly
etched though his fiddles aren’t divided: Riccardo Chailly showed
the
benefit of such an arrangement in his recent superb live performance of
the
symphony in Birmingham (review).
The RLPO’s principal clarinettist - who, sadly, is un-credited -
makes
the most of the famous solo at the start of the slow movement, playing it
very
eloquently. By contrast, Gergiev’s player sounds a touch reticent,
at
least as recorded, and the tone is rather narrow. Andrew Marriner is very
fine
for Rozhdestvensky; his tone is lovely and he leads the listener on
through
the long solo with some fine phrasing and super dynamic contrasts. Jack
Brymer,
for Previn, is not, perhaps, as daring with the dynamics as Marriner but
his
plangent tone conveys Rachmaninov’s tender melancholy beautifully
and
his playing is marvellously controlled; he remains in a class of his own.
Petrenko’s
player benefits from a better, more modern recording than Brymer and I
love
the silky tone. Petrenko is very convincing in this movement, for example
building
it to an ardent climax at the end of the first half (6:39). All
departments
of the RLPO play splendidly for him and I don’t think anyone hearing
his
account of this gloriously romantic movement will be disappointed.
The finale begins exultantly; Petrenko invests it with fine sweeping
energy.
After an explosive start Rachmaninov can’t resist another excursion
down
a lyrical byway. The yearning string theme at this point (2:50) is given
full
value by Petrenko but I like the way in which, even here, he maintains an
underlying
urgency. This reading of the finale is excellent and sets the seal on a
very
fine reading of the symphony.
I haven’t had the opportunity to compare this new Petrenko
performance
exhaustively against the competition, which I’m aware is formidable.
However,
against the three versions mentioned in this review, all of which have
strong
claims on the attention of collectors, I think it stands up pretty well. I
feel
my expectations have been met. The three dances from the one act opera,
Aleko,
constitute an attractive filler.
There’s a good note by David Gutman and the engineers - two separate
teams
- have ensured that the performances are reported in good sound.
John Quinn
A very fine reading of Rachmaninov’s great symphony, which stands up pretty well against strong competition.
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