Rachmaninov's three symphonies reflect three very different phases in his creative development: the first (1895) is a stormy synthesis of contemporary trends in Russian symphonic music, the Second (1906-7), an epic study in Tchaikovskian opulence, and the third (1935-6) a seemingly unstoppable stream of original ideas and impressions. The Second was the first to gain wide acceptance, and with good reason. It shares both the key and general mood of Tchaikovsky's Fifth. Cast in E minor, its initial gloom ultimately turns to triumph, and the symphony includes enough glorious melodies to keep Hollywood happy for decades.
The First Symphony had a difficult birth, largely through the incompetent musical midwifery of Alexander Glazunov whose conducting of the work's premiere apparently left much to be desired. However, it's an immensely promising piece and although undeniably the product of its times, prophetic not only of the mature Rachmaninov, but of other Northern voices, including – occasionally – the mature Sibelius. Both the Third Symphony and its near-contemporary, the Symphonic Dances find Rachmaninov indulging a fruitful stream of musical consciousness, recalling motives and ideas from earlier compositions, yet allowing gusts of fresh air to enliven and rejuvenate his style. Both works have yet to receive their full due in the concert hall, although the strongly evocative Isle of the dead is more securely embedded in the repertory.
What with these and a trio of warming shorter pieces, André Previn's mid-1970s LSO package is an excellent bargain. The performances are entirely sympathetic, avoiding familiar interpretative extremes such as slickness, bombast and emotional indulgence. Previn shows particular understanding of the Third Symphony, the Symphonic Dances and The isle of the dead, works that represent Rachmaninov at his most innovative and assured. The Second Symphony is played without cuts (not invariably the case, even today) and the recordings are generous in tone and revealing of detail.