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Rachmaninoff: Symphonies Nos. 1-3

Concertgebouw Orchestra, Vladimir Ashkenazy

Awards:

Ashkenazy has made few more distinguished discs as conductor than his Rachmaninov symphony recordings of the early 1980s. The downside of the repackaging in this 2CD format is that you have...

Rachmaninoff: Symphonies Nos. 1-3

Concertgebouw Orchestra, Vladimir Ashkenazy

Purchase product

44.1 kHz, 16 bit, FLAC/ALAC/WAV

$13.75

320 kbps, MP3

$10.00

No digital booklet included

Awards:

Ashkenazy has made few more distinguished discs as conductor than his Rachmaninov symphony recordings of the early 1980s. The downside of the repackaging in this 2CD format is that you have...

About

Contents and tracklist

I. Grave – Allegro ma non troppo
Track length13:07
II. Allegro animato
Track length7:44
III. Larghetto
Track length8:54
IV. Allegro con fuoco
Track length12:41
I. Largo – Allegro moderato
Track length18:08
II. Allegro molto
Track length9:47
III. Adagio
Track length14:23
IV. Allegro vivace
Track length13:07
I. Lento – Allegro moderato
Track length17:01
II. Adagio ma non troppo
Track length12:34
III. Allegro
Track length12:34

Awards and reviews

2010

Ashkenazy has made few more distinguished discs as conductor than his Rachmaninov symphony recordings of the early 1980s. The downside of the repackaging in this 2CD format is that you have to put up with a change of disc half-way through the Second Symphony and lose the shorter orchestral works included in the Previn set. Previn is the most natural but not always the most electrifying of Rachmaninov interpreters and many will find Ashkenazy preferable, particularly in No 1. Although some of Ashkenazy's speeds seem unnaturally pressed – he fairly tips us into the first movement reprise having declined to cap the climax with unvalidated bells – the excitement is infectious. Previn's LSO isn't at its best in the Larghetto, but in the corresponding movement of the Second Symphony the boot is on the other foot. Not that Ashkenazy isn't convincing too – so long as you can forget the Previn. Ashkenazy's volatile approach is at its most extreme in the Third, the mood much less autumnal than it usually is, with the fruity Concertgebouw brass unconstrained.
Such an unashamedly episodic rendering of the score has its drawbacks, but the virtuosic energy and Romantic gush are hard to resist. The recordings sound very well indeed.
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